Johann Kuhnau (1660-1722), Bach's eternal 'predecessor' as Leipzig's Thomaskantor, has only been rediscovered in recent years and his true greatness has not yet been truly recognised. He was highly respected by his contemporaries, however, and not just as a musician: he had a doctorate, worked as a lawyer, wrote satirical novels - a polymath… His musical oeuvre must have been extensive, much of it is lost. It is therefore all the more pleasing that his magnificent Christmas cantata "Frohlocket, ihr Volker, und jauchzet, ihr Heiden" ['Rejoice, ye nations, and shout for joy, ye heathen'] has been preserved. It opens the programme on this CD and, with its instrumentation and duration of over 25 minutes, surpasses many a great cantata by his famous successor.

The Hollies were formed in 1962 in Manchester, England. The original group consisted of Allan Clarke (on lead vocals), Graham Nash and'Tony Hicks (on guitars), Eric Haydock (on bass), and Don Rathbone (on drums). They signed a recording contract, and first hit the best selling charts in the USA. with “Just One Look” in May 1964, which came back to hit the charts again in 1967! Bobby Elliot replaced Don Rathbone later in 1963; Bernie Colvert replaced Eric Haydock in 1966; and Terry Sylvester replaced Graham Nash in 1968.

Writer and producer Leon Ware has been responsible for some of R&B and pop's most lush and romantic tracks. Ware produced Marvin Gaye's 1976 classic I Want You. He also co-wrote songs like Michael Jackson's "I Wanna Be Where You Are," Marlena Shaw's "Sweet Beginnings," and the Main Ingredient's "Rollin' Down a Mountainside" to name a few. This album is the follow-up to his 1976 Gordy release Musical Massage and was released shortly after he was behind the controls for nine of the ten tracks of Melissa Manchester's Don't Cry Loud. Inside Is Love has the intelligent and melody rich work fans expect from Leon Ware. Produced by Ware and Ron Roker, this has arrangements from David Blumberg, Gene Page, and Sonny Burke. Although he's not the world's strongest vocalist, his methodical, light tenor gives these songs a personal stamp. The first track, "What's Your Name" has Ware playing his naïve lothario act to the hilt. The magnificent "Love Is a Simple Thing," co-written by Chicago member Robert Lamm, possesses a chorus that is both poignant and uplifting.

This collection covers Pendergrass' run of big hits from the Philadelphia International era, including "I Don't Love You Anymore," "Close The Door" and "Turn Off The Lights".

Leon Russell's accolades are monumental in a number of categories, from songwriting (he wrote Joe Cocker's "Delta Lady") to session playing (with the Rolling Stones and Bob Dylan, just to name a few) to his solo work. Unfortunately, it's the last category that never really attracted as much attention as it should have, despite a multitude of blues-based gospel recordings and piano-led, Southern-styled rock albums released throughout the 1970s. Leon Russell and the Shelter People is a prime example of Russell's instrumental dexterity and ability to produce some energetic rock & roll. Poignant and expressive tracks such as "Of Thee I Sing," "Home Sweet Oklahoma," and "She Smiles Like a River" all lay claim to Russell's soulful style and are clear-cut examples of the power that he musters through his spirited piano playing and his voice. His Dylan covers are just as strong, especially "It's All Over Now, Baby Blue" and "It Takes a Lot to Laugh," while "Love Minus Zero/No Limit" and "It's a Hard Rain Gonna Fall" have him sounding so forceful, they could have been Russell's own.

A previously unknown contemporary score of the St. Mark Passion falsely ascribed to Johann Heinrich Rolle recently came to light in Brussels. Due to the new identification of the copyist’s hand, a largely original version of Georg Philipp Telemann’s St. Mark’s Passion of 1759 is now available, reflected in this recording. Freshly penned “poetical reflections” were added to the Evangelist’s text. The anonymous, theologically educated author of these reflective arias and accompagnati, who in consultation with the composer also chose the selection of church songs and designed the overall structure of the libretto, coordinated the sacred message of the text with a finely calculated affective dramaturgy.

Larsen’s skilful string phrasing of his (non-period) players and, above all, Kirschnereit’s mellow, lightly pedalled touch adorned with discreet, tasteful ornaments combine to make this disc one of pure joy.