Mozart's most famous masterpieces include the Requiem in D minor, "Lacrimosa" from the Requiem, "Queen of the Night" aria from The Magic Flute, and "Sull'aria" from The Marriage of Figaro. Other notable works include Symphony No. 40, Piano Sonata No. 16, and several piano concertos, including No. 21 and No. 23.

Mozart's "Great Sacred Choruses" encompasses a collection of his most notable sacred choral works, including his Requiem in D Minor (K. 626), the Great Mass in C Minor (K. 427), and other pieces like Ave verum corpus (K. 618) and Vesperae solennes de confessore (K. 339). These works are considered some of the most important and influential sacred compositions ever written.

Mozart's operas are renowned for their beautiful and dramatic arias. Some of his most famous include "Der Hölle Rache" (The Queen of the Night's aria) from The Magic Flute, "Madamina, il catalogo è questo" (Leporello's catalogue aria) from Don Giovanni, and "Voi che sapete" from The Marriage of Figaro. These arias showcase Mozart's mastery of vocal writing and his ability to convey complex emotions through music.

Power guitarist Gary Moore's Live at Monsters of Rock is a dream come true for every guitar freak out there. Teamed with his trio of Cass Lewis and Darrin Mooney, Moore turns it up to 14 and powers his way through razored, crunching covers of the Yardbirds' "Shapes of Things" and Free's "Wishing Well" before delving into his own rather voluminous catalog. Performances of the riff-laden "Rectify," the bluesed-out "Stand Up," and the completely adrenaline-fueled metal of "Out in the Fields" take this over the top. But the final track, a deeply moving version of "Pariesienne Walkways," is a fitting tribute to the tune's original vocalist and former Thin Lizzy bandmate Phil Lynott. There is nothing but pure power here – no restraint, no mixing, no overdubs, nothing but pure Monsters of Rock power. This is the guitar record Moore had been promising his entire career.

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.

Colosseum II was a British band formed in 1975 by the former Colosseum drummer and leader, Jon Hiseman, following the 1974 demise of his band Tempest. Hiseman announced his plan to form the band eventually named Colosseum II in November 1974, but only Gary Moore was named as a member. Rehearsals were due to begin on January 1, 1975, but a permanent unit was not finalised until May 1975. Among musicians who almost made the group were Graham Bell, Duncan Mackay and Mark Clarke. The final line-up was completed by Don Airey, Neil Murray and Mike Starrs.

Madeleine Peyroux's fourth album isn't the normal mix of standards (contemporary or traditional) with a few songs of her own composing; each of the 11 tracks is a new song written by Peyroux, usually in tandem with producer Larry Klein or a guest. Still, she appears in her usual relaxed setting, with a small group perfectly poised to translate her languorous vocals into perfect accompaniment – organist Larry Goldings, pianist Jim Beard, drummer Vinnie Colaiuta, plus producer Klein on bass, Dean Parks on guitar, and Carla Kihlstedt on violin. Fans of vocal jazz may be disappointed to see that all the songs are new ones – many a great conversation could consist solely of the standards she should perform – but they may regret the disappointment.

Shakespeare's illustrious prose is inextricably linked with the music that was performed in his plays. The Bard frequently directed his characters to burst into song, cannily catering to the vast audiences who flocked to the Globe Theatre, expecting to enjoy the popular melodies of the day that were interwoven throughout the narrative. English novelist and biographer Peter Ackroyd remarked, "It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre."