Diana Krall paid tribute to her father on Glad Rag Doll, the 2012 album sourced from his collection of 78-rpm records, and, in a sense, its 2015 successor Wallflower is a companion record of sorts, finding the singer revisiting songs from her childhood. Like many kids of the 20th century, she grew up listening to the radio, which meant she was weaned on the soft rock superhits of the '70s – songs that earned sniffy condescension at the time but nevertheless have turned into modern standards due to their continual presence in pop culture (and arguably were treated that way at the time, seeing cover after cover by middlebrow pop singers).

The revival of Spanish music of the Baroque period continues moving forward into the Classical era with this premiere recording of sonatas for "violin y bajo" – violin and bass – by Juan de Ledesma. The sonatas were rediscovered only in the late 1980s, and they're very elegantly presented here in a package adorned by a reproduction of a marvelous French fan of the period. There isn't anything of earthshaking importance among the five sonatas on the disc, but they're attractive pieces with some challenges for the violinist, and both players of the instruments and those with collections of Spanish music will find the release of interest. The booklet notes by violinist Blai Justo (in English, French, and German, with Spanish and Catalan additionally available online) point to Corelli's influence, but also note the presence of the galant style of the period, and it is the latter sound, with its atmosphere of charm and its relaxed procession of contrasting two-measure phrases, that predominates. The players do well to avoid a harpsichord accompaniment, using either a combination of cello and guitar or one or the other instrument alone.

Jimi Plays Monterey is a posthumous live album by Jimi Hendrix. The album documents The Jimi Hendrix Experience's performance at the Monterey Pop Festival on June 18, 1967. As well as songs from the band's debut album Are You Experienced, Monterey also includes covers of "Killing Floor" (Howlin' Wolf), "Like a Rolling Stone" (Bob Dylan), "Rock Me Baby" (B. B. King) and "Wild Thing" (Chip Taylor). The version of "Wild Thing" on the album is one of the most notable live performances ever, as, in an iconic moment in rock history, he sets his guitar alight after the song and then smashes it.

The bold opening chords and immediately following crescendo of the D major Symphony, Op.3/2 (from the early 1750s) immediately established its Mannheim credentials, as do the elegantly sophisticated scoring of the Andantino and the effective use of horns in the Minuet and Trio. E flat Symphony, one of the composer’s last, follows a similar pattern, but the three earlier works (from the 1740s), which are actually designated as ‘Mannheim’ Symphonies are altogether simpler, each with only three movements.

Johann Sebastian Bach wrote the two birthday cantatas BWV 36a and 66a for the Köthen court in 1725 and 1718. Almost three-hundred years later, they were resounded again for the first time, in a reconstruction by Alexander Ferdinand Grychtolik. The present disc records the concert given at the Köthener Bachfesttage 2012.

From the middle of the nineteenth century there was a blossoming of nationalism within the creative arts – very notably in music – in Finland that reflected the political mood in the country. From an international perspective, the dominant stature of Sibelius can often overshadow the wide-ranging works of his peers – something that this album goes some way to redressing. Robert Kajanus was the leading figure in Finnish music before Sibelius became established. His Overtura sinfonica is a late work, from 1926, which epitomises his style. Armas Järnefelt was a friend and fellow student of Sibelius, and eventually became his brother-in-law.

In 1997 Bob Dylan nearly died, and it seems like ever since, he's been out on the road trying to gather as many souls as possible, converting the world one by one with the fervor of a man who's been returned to his path by God himself. For the die-hard, the zealous, the purist, there are "field recordings" of virtually every show the man has done in the past several years … you could commit considerable time and energy sorting through them all, trying to find the best performances, the best setlists, the best sound. But for those of us who value time over money and trust the experts to handle the situation on behalf of everyone concerned, there is Rock of Ages, perhaps the most lovingly assembled and beautifully-packaged bootleg ever made…

Valentina Lisitsa's double-CD of the music of Philip Glass is a generous collection of excerpts drawn from his film music, including The Hours, The Truman Show, and Mishima, as well as from concert works, such as Glassworks, How Now, The Metamorphosis, and Mad Rush, among other selections. While Glass achieved fame through his early ensemble pieces, where he developed a bright-edged sound through the use of electronic keyboards, his minimalism is easily adaptable to the piano, though the characteristic ostinato patterns that gave his earlier scores a fierce energy are somewhat softened in the piano's blander sonorities and more introspective tone. Lisitsa has found a niche in playing minimalist music, as she demonstrated on her successful 2014 album, Chasing Pianos, where she explored the film music of Michael Nyman. This collection is a natural follow-up, and Lisitsa's aptitude for Glass' style is shown in her steady, rocking rhythms and even dynamics, as well as in her poignantly lyrical expressions.

1611. After two years of study with Gabrieli in Venice, Heinrich Schütz tried his hand at composing madrigals on Italian poems. This mere ‘graduation exercise’ turned out to be a masterpiece: the young German composer demonstrated his ability to identify each nuance of the text with a different musical emotion, a refinement heightened here by the interpretation of Les Arts Florissants.

Since the mid-1980s, Frank Peter Zimmermann has earned recognition as one of the world’s leading violinists, admired not only for his technical skill and interpretive intelligence, but also for his versatility in a wide-ranging repertoire. His extensive discography ranges from Bach concertos and Beethoven sonatas to works by composers such as Martinů, Ligeti, Magnus Lindberg and Brett Dean. He waited until the fourth decade of his career, however, to take on Bach’s Sei solo a Violino senza Basso accompagnato, the six sonatas and partitas for solo violin.