The Dutch conductor Bernard Haitink and the Symphonieorchester des Bayerischen Rundfunks were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Bruckner's Fourth Symphony documents concerts from January 2012 in Munich‘s Philharmonie im Gasteig.

Saksofonistka Alina Mleczko dała się poznać jako świetna solistka już w roku 1995 w Filharmonii Narodowej w Warszawie. Od tej pory kariera instrumentalistki nabrała wyjątkowego tempa. Mleczko ma na swym koncie doskonale przyjęte albumy płytowe: ''Wiatr od Morza'', nominowane do Fryderyka płyty: ''Siesta'' i ''Fiesta'' oraz ''Saxophone''.

After triumphant recordings of Handelian opera seria and other Italian material, soprano Sandrine Piau, France's voice of the Baroque, turns her attention to repertory that is very little known outside of France. Even in their homeland, Piau writes in the CD booklet, these arias and instrumental music are merely "not exactly virgin territory."

This is an interesting pre-authentic performance of Handel's odd masterpiece, an opera that has not done well on CD. Years ago, a severely cut, peculiarly cast Sutherland/Bonynge set appeared on London (Decca); this current performance, which has been around for a long time (and is available on other labels as well), dates from 1959. The orchestra is reduced, harpsichord is prominent, embellishments are added to the vocal line, and in general, aside from a slight heaviness in approach, there is little to be ashamed of. Some arias are cut or cut in half, but the spirit of Handel is present–and besides that, fans of either Sutherland or Janet Baker, both caught here so early in their careers that they were not even vaguely famous, will have to hear them. And they impress: Baker sounds far lighter than she later did but exhibits the same wonderful musicality and impeccable diction, and Sutherland's fresh voice, flawless technique, and yes, fine enunciation of the text are delightful.

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Perhaps Jean-Jacques Rousseaus Devin du Village has been waiting just for you for two centuries at the Theatre de la Reine at the Petit Trianon. On September 19, 1780, Marie-Antoinette was on stage, in costume, and was acting with her troop of aristocrats in front of a public of close friends. That evening, she was singing the role of Colette, the heroine of this one act opera composed in 1753 by the philosopher Jean-Jacques Rousseau, perhaps the most celebrated work of its time. That exceptional evening, a veritable fantasy of the Queens who imagined that she was a shepherdess, has been resuscitated under the direction of Sebastien dHerin in a costumed reconstitution, staged in the original historic sets.

Among the musical genres that were most appreciated and cultivated in Vienna in the early eighteenth century, one that stands out decidedly is the chamber cantata. The Italian cantatas, which were favourite compositions for the cultivated entertainment of the court, were abundantly circulated in manuscript form and collected in a great quantity of books that made chiefly between the eighteen-tens and the eighteen-forties.

Although Rufus Harley also plays flute, soprano, and tenor on this record, it is for his bagpipe playing that the out-of-print album is most notable. The bagpipes tend to be a drone instrument and Harley cannot surmount the problem of cutting off notes quickly, but he plays his main instrument as well as anyone and is thus far the only jazz bagpipe player. With the assistance of pianist Oliver Collins, bassist James Glenn, drummer Billy Abner, and Robert Gossett on conga, Harley's versions of "Feeling Good" and "Scotch and Soul" are quite unique.

Blackwater Park's sole album "Dirt Box" with Murphy Blend's Andreas Scholtz on bass is a very up-tempo and dynamic work with catchy tunes, hard edged guitars, strong vocals by English singer Mike Routledge and - on a few tracks - completed with organ play, especially in the opening track. Rock critics classified the album as hard rock with prog leanings or as a heavy rock proto metal album in the vein of Trapeze and Black Sabbath. Not too progressive, not too kraut, an one off almost classic and for that - surprisingly - with a Beatles cover "For No One". Don't miss this legendary album of one of early nineteen-seventies best bands from West Berlin. CD and LP are remastered from the original master tape with band story by original member Andreas Scholtz and completed with unseen and rare photos.

By the late '90s, Björk's playful, unique world view and singular voice became as confining as they were defining. With its surprising starkness and darkness, 1997's Homogenic shatters her "Icelandic pixie" image. Possibly inspired by her failed relationship with drum'n'bass kingpin Goldie, Björk sheds her more precious aspects, displaying more emotional depth than even her best previous work indicated. Her collaborators - LFO's Mark Bell, Mark "Spike" Stent, and Post contributor Howie B - help make this album not only her emotionally bravest work, but her most sonically adventurous as well. A seamless fusion of chilly strings (courtesy of the Icelandic String Octet), stuttering, abstract beats, and unique touches like accordion and glass harmonica, Homogenic alternates between dark, uncompromising songs such as the icy opener, "Hunter," and more soothing fare like the gently percolating "All Neon Like"…