This ninth volume of the Haydn2032 series focuses on the composers psychological subtlety in its focus on a central work: his Symphony no.45, known as the Abschieds-Symphonie (Farewell Symphony), composed in 1772. It is said to have got its nickname from a symbolic message Haydn conveyed to Prince Esterházy when he and his orchestra were required to stay longer than planned in the Princes summer residence. On the occasion of the symphonys first performance, Haydn had arranged for the musicians to leave their places one by one during the final Adagio.

Vox Iberica – Sequentia’s long-term project to record music from three of Spain’s most important musical sources – begins with music from the so-called Codex Calixtinus, a 12th century manuscript containing liturgical chant and polyphony in honour of Saint James the Apostle, otherwise known as Santiago, whose relics have been venerated by pilgrims since the Middle Ages in the cathedral at Santiago de Compostela in Galicia. For this recording, the eight men’s voices of Sequentia join to record the complete polyphony found in this magnificent collection of sacred music, including some of the earliest polyphony to be clearly notated in a European source.

Writers on Mozart sometimes take him to task for the alleged mixture of style in the C minor Mass, in particular the use of florid, 'operatic' solo writing amidst all the severe ecclesiastical counterpoint. To object is to misunderstand the nature of Mozart's religion, but it takes a performance as stylistically accomplished as this one to make the point in practice. The usual stumbling-block is the 'Et incarnatus', with its richly embellished solo line and its wind obbligatos. Sung as it is here, by Sylvia McNair, beautifully refined in detail, it's indeed passionate, but passionately devout.

To date, Rammstein haven't been able to equal the excitement and power of their breakthrough 1997 album, Sehnsucht, and while Rosenrot suffers that fate, there's an EP's worth of brilliance and one track that towers above them all. Just as exciting as their massive hit "Du Hast," "Te Quiero Puta!" is a glorious blend of the group's usual Teutonic crunch and mariachi music that earns the exclamation point in its title. It's loco to hear Rammstein with bright horns and Latin vocalists and just about as odd to hear them with Sharleen Spiteri - lead singer for the classy pop act Texas - whose sweet and somber vocals make "Stirb Nicht Vor Mir (Don't Die Before I Do)" sound very dreamy, very Nightwish. The out of control "Zerstören" and "Benzin," with its biting social commentary on the world's addiction to oil, are the final two tracks for the hypothetical four-star EP, since the rest of Rosenrot sounds a bit too formulaic…

John Coltrane's debut for the Impulse label was a bit unusual, for the great tenor and his quartet were joined by a medium-sized backup group on Eric Dolphy arrangements of "Africa," "Greensleeves," and "Blues Minor." "Africa" in particular is quite memorable although Coltrane would not pursue any further recordings in this direction in the future, making this a change of pace in his discography.

In 1975, the Italian progressive rock band Banco del Mutuo Soccorso released its first English LP after three Italian ones. Following the example of fellow progsters Premiata Forneria Marconi, they shortened their name to Banco and re-packaged a handful of tracks from their previous records with English vocals to put together an introductory package for the English-speaking world. But unlike PFM's Photos of Ghosts, Banco contained two new pieces, and the old ones had been completely re-recorded, some even re-written.

Hans Zimmer's score for Edward Zwick's samurai epic The Last Samurai mixes his own densely composed style with Japanese instruments and melodies, resulting in a brooding, atmospheric collection of music. Shakuhachi and other flutes, koto, and taiko drums make their presence known throughout the score, most effectively on compositions like "A Way of Life," which begins as a reflective duet for flute and strings before swelling into an ominous but majestic melody. "Spectres in the Fog" is another compelling mix of beauty and violence, starting with a delicate koto melody and rolling drums before crashing percussion and sawing strings turn the mood from bittersweet to battle-ready. These drums of war and battle cries increase as the score unfolds, making tracks such as "Safe Passage," "Ronin," and "Red Warrior" nearly as tense and striking outside of the film's context as they are in it…

This is one of many small-group jam sessions organized by Norman Granz to feature pianist Count Basie. This time around the proceedings (utilizing a sextet) have plenty of solo space for trumpeter Willie Cook, altoist Eddie "Cleanhead" Vinson (who also takes a vocal) and guitairist Joe Pass. As usual, when Basie had his way, the emphasis is on the blues and the music always swings.