'60s British pop trio the Ivy League consisted of members John Carter, Ken Lewis (previous members of Carter-Lewis and the Southerners), and Perry Ford. All three members were session singers who possessed high-pitched singing voices, forming the group in 1964. Although an initial single quickly disappeared from sight, their second single, "Funny How Love Can Be," turned out to be a surprise U.K. Top Ten hit. Further hits followed, including "That's Why I'm Crying" and a cover of "Tossin' And Turnin'," the latter of which hit number three on the U.K. charts. The original trio managed to only release a single full-length album, 1965's This Is the Ivy League, before both Carter and Lewis left the group a year later. With replacement members Tony Burrows and Neil Landon taking the recently departed original members' places, the Ivy League issued two more full-lengths, 1967's Sounds of the Ivy League and 1969's Tomorrow Is Another Day.

David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto. Performances of the Glazunov concerto in Odessa and Kiev in 1927, and a 1928 debut in Leningrad (Tchaikovsky concerto), gave Oistrakh the confidence to move to Moscow. He made his premiere there in early 1929, but the event went largely unnoticed. In 1934, however, after several years of patiently refining his craft, Oistrakh was invited to join the Moscow Conservatory, eventually rising to the rank of full professor in 1939. Meanwhile, Oistrakh was gaining success on the competition circuit, winning the 1930 All-Ukrainian contest, and the All-Soviet competition three years later. In 1935 he took second prize at the Wieniawski competition. In 1937 the Soviet government sent the now veteran violinist to Brussels to compete in the International Ysaÿe Competition, where he took home first prize.

Clara Schumann was one of the famous piano virtuosos of the 19th century. She was respected by contemporary composers such as Liszt and Thalberg, and was a self-made figure who was appointed as a university professor at a time when women's social participation was difficult.

Over time, the memory of the brilliant virtuoso that was Eugène Ysaÿe (Liège, 1858 - Brussels, 1931) ended up supplanting his status as a composer in the collective memory. It should be remembered, however, that Eugène Ysaÿe created, through his works, a fundamentally new and original genre, distinguished by a science of writing and harmonic richness. This album brings together concert works by Eugène Ysaÿe which, with the exception of the Saltarelle carnavalesque, have never been recorded in their orchestral version. It therefore invites us on a unique journey into the composer's sound universe, from his first to his last compositions written for soloist(s) and orchestra.

Nannette Streicher opened her piano workshop together with her husband and brother in Vienna at the end of the 18th century. They built well over a thousand instruments, of which only around 40 fortepianos have survived to this day. The piano parts on this album were recorded on Nannette Streicher's fortepiano with the serial number 1060. Ludwig van Beethoven himself was good friends with the couple and played their instruments. The three selected sonatas on this album span a period of 14 years, from 1798 (Op. 12/1 and 3) to 1812, the year of the composition of Op. 96 - two years before the piano used here was completed. Stefania Neonato is involved both in performance practice on historical instruments and the modern piano playing tradition. Christine Busch appears as a soloist and chamber musician in concerts worldwide, performing on both modern and baroque violins.

For this well-rounded CD reissue that adds nine cuts to the original program, Anita O'Day, in her prime period, is mostly heard accompanied by Buddy Bregman & His Orchestra, but there are also a few tracks on which she is joined by a jazz combo featuring trumpeter Harry "Sweets" Edison. Highlights include "Don't Be That Way," "Stompin' at the Savoy," "Pick Yourself Up," "Sweet Georgia Brown," and "I Won't Dance." Virtually all of Anita O'Day's 1950s recordings are recommended, for her drug use had not yet affected her voice and her creativity was generally at its height.

After the spare and lengthy reflections and dislocated experiments of his excellent Dance album, Gary Numan made a return to a more focused approach with I, Assassin, which turned out to be his last truly great album for many years. Much of what would characterize his later music in the '80s did start to show up here, to be sure, but instead of the formless flailing all too apparent on Warriors, and especially on Berserker, Numan's work here with modern electronic funk combines his early rigor and to-the-point rhythms with a deft, creative hand in the arrangements. "White Boys and Heroes," the brilliant opening number, remains one of his best singles, featuring fretless bass work from Pino Palladino (long before both it and him had turned into rent-a-clichés), and set against droning, distorted vocals and doom-laden keyboards…

Before Ratt, before Hanoi Rocks, before the New York Dolls, and before a lot of the British bands which history recalls as archetypal glam rockers, there was Silverhead, the first and positively the greatest metal band ever to dress up like a bunch of weird-looking hookers. Silverhead, this unsightly, unseemly, and unconcerned behemoth's debut album, is strutting teenage trash of the first order. Guitars totter precariously on absurdly high heels, the rhythms are offering knee-tremblers in a backstreet alleyway some place, the lyrics drape lasciviously over anybody who'll hold them up, and the riffs will spend the night with anyone. "Long Legged Lisa," "Rolling With My Baby," and "Sold Me Down the River" might not be the most immortal songs ever oozed onto vinyl, but they certainly dress the sluttiest.

First of the Big Bands is a studio album by Tony Ashton of Ashton, Gardner and Dyke and Jon Lord of Deep Purple, released in April 1974 by Purple Records in the UK and Europe and Warner Bros. Records in the US. The project was Ashton's and Lord's brainchild and continuation of their working relationship after Ashton Gardner & Dyke helped out on Jon Lord's soundtrack album The Last Rebel from 1971. Stylistically, First of the Big Bands was the precursor to Paice Ashton Lord's Malice in Wonderland album from 1977. Most of the album was recorded at Air and Apple Studios, London, with additional work being completed at De Lane Lea and Island.

In the Upper Austrian Schlägl Abbey there are numerous instrumental instrumental concertos, mostly for solo violin, but often also for harpsichord. The demands on the violin soloist are enormous. There must have been a very talented violinist on site.Ars Antiqua Austria has brought some of the concertos back to life. An exciting journey into the still unknown past.

The Italian quartet Barock Project have been making musical waves lately through their outstanding studio album Skyline, released in 2015, which they followed up last year with the live double album Vivo.
In a nutshell, Detachment further enhances them as one of Europe's current finest and most innovative bands, whose distinctive classically-led sound should attract a much wider appeal among serious prog listeners.
If you like your progressive rock to be open, inviting and with a keen focus on melodies and harmonies, without loosing track of being sophisticated on a structural level, Detachment is an album with your name written on it.

This programme spotlights Gabriel Fauré's orchestrated songs and his music for the stage, of which his suite from the incidental music for Pelléas et Mélisande includes some of his best-loved music. Performances of Fauré's spectacular Wagnerian drama Prométhée are a real rarity, while the eloquent Shylock suite, based on Shakespeare, contains some of his most elaborate symphonic music. Fauré orchestrated only a small number of his more than 100 songs, but these include the transcendentally beautiful love song Les Roses d’Ispahan with its harmonic subtleties and gorgeous coda.

Synchronicity is the fifth and final studio album by English rock band The Police, released in the United Kingdom on 17 June 1983. The band's most successful release, the album includes the hit singles "Every Breath You Take", "King of Pain", "Wrapped Around Your Finger", and "Synchronicity II". At the 1984 Grammy Awards the album was nominated for a total of five awards including Album of the Year and won three. At the time of its release and following its tour The Police were hailed as the "Biggest Band in the World". The album was number one on both the UK Albums Chart and the U.S. Billboard 200, and sold over 8 million copies in the U.S. Synchronicity was widely acclaimed by critics. Praise centred on its cohesive merging of disparate genres and sonic experimentation. Rolling Stone described "each cut on Synchronicity not simply a song but a miniature, discrete soundtrack." It has since been included on their lists of the "100 Best Albums of the Eighties" and the "500 Greatest Albums of All Time". In 2009, Synchronicity was inducted into the Grammy Hall of Fame.

Nuvole is a jazz trio that seeks to revitalize the genre by fusing historical inspirations with contemporary musical concepts to create a fresh sound with a certain timeless character. This duality is also evident in their artwork, which creates charmingly childlike pieces that manage to be both sophisticated and adult at the same time.

Organist Matthew Owens continues his major exploration of the many extant organ works of Pachelbel with this forth volume, recorded on a recent instrument by the renowned French organ builder, Bernard Aubertin. This recording sheds fresh light on Pachelbel’s ingenious counterpoint and inventive chorale preludes, revealing layers of seventeenth-century Lutheran devotion and compositional mastery. A close contemporary of Buxtehude, Johann Pachelbel was, by all accounts, an outstanding keyboard player himself, and his compositions provide a fascinating stylistic bridge between early-Baroque composers such as Frescobaldi and Froberger (both of whom influenced him) and the later music of J.S. Bach and his contemporaries.