The four-disc box set Dear Mr. Fantasy digs deep into Jim Capaldi’s legacy, providing a thorough overview of the musician best known as Steve Winwood’s sparring partner in Traffic. Appropriately, there is a hefty chunk of Traffic here along with a good sampling of his solo albums, plus a fair number of rarities ranging from his first group the Hellions to the pre-Traffic bands Revolution and Deep Feeling and a previously unreleased collaboration with George Harrison called “Love’s Got a Hold of Me.” It’s a generous set that will satisfy the devoted while providing several surprises to those who have looked no deeper than Traffic but were always curious about what else Capaldi had to offer.

While it isn't Handel's most obscure opera (hum a few bars from Catone, anyone?), Siroe, Re di Persia is definitely on the margins. It's hard to say why exactly, although the unflatteringly edited Metastasio libretto (by Nicola Haym) is surely part of the reason; the character and conflict development of the original are largely missing from the version Handel set. But the music is Handel at his best, and let's face it: from the perspective of a modern listener, plot is not the main draw of opera seria. With that in mind, Harmonia Mundi's complete recording, with Andreas Spering and the Cappella Coloniensis, is an excellent first step toward giving Siroe wider exposure. It's well played, thoughtfully conducted, and it features an excellent trio of leading ladies.

For more than two centuries Naples was a province of Spain, and after this ended in 1707 the remarkable cross-fertilisation of culture between them did not stop. Much of the Italian music featured here has been edited from sources in Spanish collections. The vast bulk of it is devoted to Leonardo Vinci (one of the most celebrated Italian opera composers of the 1720s). Only one short piece tacked onto the end is actually Spanish: a colourful fandango from José de Nebra's zarzuela Vendado es amor,no es ciego (1744) in which three singers mockingly compare the squabbling goddesses of classical antiquity to bickering mothers-in-law.

This debut album opens with cellist Taeguk Mun - winner of the 2014 Pablo Casals International Cello Competition and the 2016 János Starker Foundation Award - playing Bach's Suite for Solo Cello No 1. He is then joined by the pianist Chi Ho Han, another multi-award-winning musician from South Korea, for Beethoven's Sonata for Cello and Piano in A Major and short pieces by Schumann, Schubert, Rubinstein and Pablo Casals.

Trumpet Star, Alison Balsom, Transforms The Traditional Italian Baroque Concerto In This New EMI Classics Release Following the popular and critical international success of her Haydn and Hummel concertos recording, Alison Balsom has recorded a program of Italian Baroque concertos. In this new recording, Balsom, plays various popular concertos originally composed for the violin or oboe by Vivaldi, Tartini, B. Marcello, Albinoni and Cimarosa, accompanied by the Scottish Ensemble. This collection provides an apt vehicle for the award-winning trumpeter's characteristic brilliance and grace.Alison Balsom, an exclusive EMI Classics recording artist, studied trumpet at the Guildhall School of Music, the Paris Conservatoire, and with Håkan Hardenberger.

Once in while a recording comes along in which the performers, producers, and recording team get everything right. This is one of them. First issued in 1995, this production of Bach’s Easter “oratorium” easily can claim supremacy among several very good alternatives. Largely cobbled from an earlier secular cantata for a duke’s birthday, the music is some of Bach’s most poignant while being alternately festive and meditative. There are no “roles” as we find in the Passions, no Evangelist-type recitatives, no chorales, and there’s no real dramatic story line. Instead, we visit a particular scene–Peter, John, and the two Marys discover the empty tomb and contemplate its meaning.

It was inevitable, after the mega-success of Tubular Bells in its original form, that someone would orchestrate the piece - the many and varied instrumental voices of the original virtually begged for this treatment, especially as the original album appeared at the height of the progressive rock boom, when even self-contained rock bands such as Emerson, Lake & Palmer were starting to turn toward orchestral accompaniment in their quest for richer sounds. In this case, it was composer Mike Oldfield himself who oversaw and co-produced the work with orchestrator and collaborator David Bedford, a longtime friend and colleague. The orchestration lives up to its promise, Bedford bringing to bear the diverse voices of strings, horns, brass, and winds in suitably rich fashion…

Compilation CD from Japan, features Artists signed to CBS / Sony around the late 80s, released to promote the artists featured album releases, some very obscure and mixed artist compilation.

With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. The Resistance is most certainly extravagant - there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" - but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song…