Even though Vladimir Ashkenazy is most often celebrated for his brilliantly virtuosic interpretations of Romantic repertoire, his skills in playing works of the Classical era are just as worthy, as proved by this 10-disc set from London of Wolfgang Amadeus Mozart's piano concertos. These performances span a period from 1966 to 1988, capturing a youthful and vigorous Ashkenazy playing and conducting the Philharmonia Orchestra and the English Chamber Orchestra from the keyboard, in approved Mozartian fashion. All of the keyboard concertos are here, including the official 27 concertos for piano and orchestra, the Concerto for two pianos in E flat major, K. 365, the Concerto for three pianos in F major, K. 242, as well as the two Rondos K. 382 and K. 386. Ashkenazy's elegant playing has been highly praised by critics and placed on a level with his esteemed contemporaries Murray Perahia, Daniel Barenboim, and Alfred Brendel, all past masters of Mozart's primary medium of expression.

These concertos demonstrate the emerging inventiveness of CPE's musical personality within the trend towards public concerts in the mid-18th century. In fits and starts there are those sparsely etched landscapes which at their best can captivate us. If decorum is sometimes overworked, Bach's originality is even more remarkable given that the ritornello structure inherited from his father's generation, with its alternating solo and string sections, is less easy to sustain in a relatively uncontrapuntal style. Contrast is therefore a key element, and Bach needs a soloist who can discern how the relationship between the harpsichord and the orchestra can be manipulated to good effect.

This series of the complete harpsichord concerti of C.P.E. Bach is one of the most important and monumental recording projects of the century so far… it is a whole planet of delights and amazing discoveries.

This series of the complete harpsichord concerti of C.P.E. Bach is one of the most important and monumental recording projects of the century so far… it is a whole planet of delights and amazing discoveries.

Lucifer's Friend is a German hard rock band, formed in Hamburg in 1970, fronted by British vocalist John Lawton (of Uriah Heep), guitarist Peter Hesslein, bassist Dieter Horns, keyboardist Peter Hecht, and drummer Joachim Reitenbach. The group was an early practitioner of heavy metal and progressive rock; they also incorporated elements of jazz and fusion into their music, especially in their fourth album Banquet of 1974. Evolved from Asterix and comprised of 3/4 of The German Bonds, the group officially disbanded in 1982. They briefly reunited (1993-1997) as Lucifer's Friend II, releasing one album before disbanding once again. In 2015 they have reformed again. The band features core original members John Lawton, Peter Hesslein and Dieter Horns.

16 Greatest Hits is a compilation album by Steppenwolf, released in 1973. It features some of their most famous songs, including "Born to Be Wild", "The Pusher", and "Magic Carpet Ride", and "Hey Lawdy Mama." The album consisted of the 11 tracks from the previous Gold: Their Great Hits album, in the same order as on the two sides of that earlier album, with the addition of the final two tracks on side 1, and the final three tracks on side 2. This album was originally issued as Dunhill 50135, and later as ABC/Dunhill with the same number, on LP, 8-track cartridge, and cassette.

On The Secret Value of Daydreaming, the follow-up to his successful debut, Julian Lennon emphasizes his mainstream pop leanings by adding a tighter, more polished production which brings out the best in his songs. That is, it does when the songwriting is up to par. Lennon had some difficulty producing a consistent set of songs for his second album, with only a handful of tracks – including the hit "Stick Around" – standing out amidst the slick, immaculately produced material.

For the uninitiated, the Spiritual Beggars are a three-piece psychedelic groove metal trio from Sweden. Their guitarist, Michael Amott, is best known for his role in doom metal units Carcass and Candlemass. With deep riffing and more precision than speed, he is as heavy as any two speed-demon metal guitarists put together. The Spiritual Beggars' primary influence is mid-period Black Sabbath (say, Vol. IV and Sabbath Bloody Sabbath), but they expand their horizons with each record. The band's sound on this third recording differs from its previous efforts in two ways.

The first complete recording of W.A. Mozart’s piano sonatas on the composer’s own fortepiano (Anton Walter, 1782). This comprehensive, 7-CD boxed set also comprises unfinished fragments by the Austrian composer, here completed by American pianist and Mozart-scholar Robert Levin in consideration of Mozart’s idioms and the compositional mannerisms of his era. Robert Levin’s interpretations of the piano sonatas, too, are informed by the performance practice customs of the First Viennese School, including improvised elements and decorations in the repeats.

This is a very good album, no question about it. The disc covers a lot of musical territory and has a great prog sensibility. The musicianship and vocals on the CD are impeccable. The CD reviewed here is a Japanese import, and the two bonus tracks are only available on the Japanese edition. It is also important to note that these bonus tracks are separated from the rest of the CD by a long pause. A special treat on the disc is a great cover of the theme song to the old British sci-fi series Space 1999. Rocket Scientists are Erik Norlander and Mark McCrite. Tommy Amato, Neil Citron, Greg Ellis, Tony Franklin, Lana Lane, Arjen Anthony Lucassen, and Don Schiff join them on this album.

Santtu conducts Strauss is a double-deluxe album with four works by Richard Strauss conducted by Principal Conductor Santtu-Matias Rouvali, two of which are live recordings of Santtu’s 2021/22 opening concert and first concert as Principal Conductor at Royal Festival Hall. Eine Alpensinfonie and Also sprach Zarathustra are live recordings of Santtu’s opening concert of the 2021/22 season, and his first concert with the Philharmo- nia as Principal Conductor.”

Legend of the piano Martha Argerich is releasing her first ever album partnering the Israel Philharmonic Orchestra under the baton of its new musical director, Lahav Shani.

Losing Wolf, aside from the final reprise of "Lucy," but otherwise making no changes in the line-up, the Seeds followed up Tender Prey with the equally brilliant but generally calmer Good Son. At the time of its release there were more than a few comments that Cave had somehow softened or sold out, given how he was more intent on exploring his dark, cabaret pop stylings than his thrashy, explosive side. This not only ignored the constant examples of such quieter material all the way back to From Her to Eternity, but Cave's own constant threads of lyrical darkness, whether in terms of romance or something all the more distressing. This said, the softly crooning group vocals and sweet strings on the opening "Foi Na Cruz" certainly would catch some off guard…