Elisabetta regina d'Inghilterra, marked Rossini's first venture into the San Carlo Theatre in Naples, the most glamorous theatre of that time. The famous impresario Domenico Barbaja, had carefully prepared the launching of the rwenty-three year old composer -with sumptuous scenery, designed by a celebrated archirect, Antonio Niccolini, and engaging a firsr-rate cast. Foremost was Isabella Colbran, who later became Rossini's wife; and tenors — Andrea Nozzari and Manuel Garcia.

As a solo artist, Ian Gillan had his share of fine moments in the studio, but it was on-stage where he was at his best – a fact underscored by Live at the Budokan. First released as a two-LP set in 1982 and reissued on a single CD in the early '90s, Budokan boasts strong extended versions of Purple classics like "Smoke on the Water," "Woman from Tokyo," and the moody ballad "Child in Time," as well as some songs he'd recorded for his solo projects, including "Clear Air Turbulence," "Money Lender," and "Over the Hill." The CD's liner notes are atrocious (no personnel are listed), but the performances themselves – though not in a class with Purple's Made in Japan – are generally impressive. If you acquire only one of Gillan's post-Purple recordings, this would be the best choice.

Here is Chet Atkins playing all alone, just for you…enjoy. These solo sessions that he left in his home studio are a rare treasure and a generous gift from the greatest guitarist of his time. Solo Sessions is the fifty-eighth and final studio album by Chet Atkins, released in 2003. It is his first posthumous release of solo guitar recordings after his death in 2001. All the songs are previously unreleased and were recorded by Atkins in his home studio. Atkins' grandson Jonathan, longtime sideman Paul Yandell and engineer Mike Poston undertook the task of cataloging, organizing and releasing this two-CD set. Some of the songs were unique and new versions of previously released songs.

THINK FLOYD formed by Tony Red, the bands' leader, bass guitarist, song writer and singer as a tribute band of PINK FLOYD. Releasing own songs as well now with great similarities to the real thing. If you are into PINK FLOYD and haven't tried this band yet you are missing a real treat. THINK FLOYD are much more than your typical tribute band. Music in pure tradition of "Wish You Were Here" PINK FLOYD album with floating keyboards, solo guitar in the GILMOUR vein and vocals remind of WATERS. If you are a bit of a PINK FLOYD / Roger WATERS not then "Hope" album is a real must. Rather than hide their influences the band openly wear them on their sleeves. The name, artwork, vocals and in fact their entire musical style just screams FLOYD. For those fans recommended!

Herz never tried to be a ‘great’ artist, though he was often judged against such criteria; he was an entertainer. Of course the concerto lends itself perfectly to this role and his eight concertos are full of charm, almost operatic melody and scintillating virtuosity. Needless to say Howard Shelley, who has made such exceptional recordings of the concertos of Hummel and Moscheles, is just the man for the job. If we can accept that music need not be profound to be enjoyed we should join the international music press in welcoming this revival of these works, the pop music of their time.

In 1597 John Dowland (1563-1626) published his first collection of music, The First Book of Songs or Airs of Four Parts with Tableture for the Lute. A groundbreaking work in several respects, not least in that it was the first published collection of English lute songs, it success was immediate, and was reprinted several times. His Second Book of Songs or Airs (1600) shows the increasingly solo nature of the lute-song, as Dowland left the first eight songs as lute solos.

Very few musical compositions truly deserve that overworked adjective “unique,” but it accurately applies to William Walton’s Façade.”] Or perhaps we should call this mostly-early work Façades, as it is recorded here in three parts: “Façade – An Entertainment” (21 pieces dating from 1922); “Façade 2 – A Further Entertainment” (8 more pieces; 1978-79); and the four pieces of “Façade: Additional Numbers” (1922, 1977).

Artists are liminal figures — they cross thresholds and collapse boundaries between past, present, and future. In THE NEW EPOCH, three musicians from the Boston Artists Ensemble interpret works by French composers Fauré, Debussy, Ravel, and Lili Boulanger, infusing these pieces with unprecedented freshness and clarity. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War — with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward — they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War –– with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward –– they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present.

These works by Robert Saxton were written between 2013 and 2019 and represent his continuing journey of exploration in modal and harmonic structures; complex in structure but creating no jarring modernist difficulty for the listener. A mix of orchestral, chamber and vocal works, it features top performers including world-renowned baritone Roderick Williams and equally famous (and now film star) Clare Hammond. Robert Saxton received early guidance from Benjamin Britten and studied with Elisabeth Lutyens, Robin Holloway and Luciano Berio among others. He has received commissions from the BBC (TV, radio and Proms) and many prominent ensembles. Until retiring in 2021 Robert was Professor of Composition at Oxford University and is a Research Fellow of the Royal Academy of Music.