Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A tremendous moment for the great George Adams as a leader – a record that won the reedman widespread attention after some key work in the bigger groups of Gil Evans and Charles Mingus! Adams is a searing, soulful player right from the start – stepping out strongly on tenor at the kickoff of the record, but also blowing some flute with this moodier, more spiritual tone that really deepens our appreciation of his talents as a musician. The rest of the group is filled with similar spiritual energy – and includes Ron Burton on piano, Don Pate on bass, Al Foster on drums, and Azzedin Weston on percussion. The style is nicely different than some of George's later work with Don Pullen – maybe a bit more straightforward, but in a great way that really unlocks his voice as a leader – and titles include "Funk A Roonie Peacock", "Metamorphosis for Mingus", "Paradise Space Shuttle", and "Intentions".

One of the legendary bootlegs in Rolling Stones lore, the 1971 gig at their old stomping ground of London's Marquee Club was recorded and filmed for broadcast on American television. Very little film footage was officially released and it sat unreleased until 2015, when the Stones Archive released the full performance on CD/DVD/Blu-ray to coincide with the deluxe reissue of Sticky Fingers…

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The Three Sounds pull away from the curb in a sweet sports car – a great cover image that really sets the tone for the entire record! The album's the epitome of early 60s class and cool that the group had to offer – as they effortlessly mix soulful groovers with mellower, more introspective pieces – all delivered by the godlike hands of Gene Harris on acoustic piano – already a giant in jazz, even at the start of his long career. The rhythm is great, too – sublime bass from Andy Simpkins, whose round, warm tone we always love – and just the right sort of work on drums from Bill Dowdy, who always keeps things on track. Titles include "Now's The Time", "Summertime", "Poinciana", "Here We Come", and "Sonnymoon For Two". Great cover too – with one of the all-time best "car jazz" images!

Overshadowed by his father, Johann Sebastian, and his brothers Carl Philipp Emanuel and Johann Christian, the music of Wilhelm Friedemann Bach provides a bridge between the high art of the first and expressive tendencies of Sturm und Drang. His Harpsichord Concertos, as performed here by Maude Gratton [of the Ricercar Consort] and Il Convito, offer a very successful synthesis of these two trends.

German four-piece speed/thrash metal band, regarded as very influential to the modern black metal scene…

Bastille Musique presents its first release »Claude Vivier: Kopernikus« in a brilliant SWR studio recording by the Opera Factory Freiburg, the Holst-Sinfonietta and Klaus Simon (conductor). Besides the CD containing Vivier’s masterful chamber opera from 1980, which he called opéra-rituel de mort, the lavish package includes a 64-pages trilingual booklet (EN, FR, DE) and three photo leaflets with previously unpublished pictures of Claude Vivier as well as the artists during a staged performance.

Riccardo Muti had made a sensational Salzburg début in 1971 and this Così fan tutte was his first Mozart opera at the festival. It was acclaimed by both the general public and international critics, who were virtually unanimous in their praise of the aesthetic quality of the production. Muti was praised for his authoritative approach to Mozart’s music, while the remarkably homogeneous team of international soloists was equally applauded. The singers form an admirably cohesive ensemble and all of them are outstanding Mozart singers. The production became a staple at the Salzburg Festival and hugely popular with audiences. Muti gives both the musicians and the audience time to appreciate Mozart’s music in all its beauty, formal mastery and, above all, in the endless variety of its depiction of human foibles. The Vienna Philharmonic’s playing is well sprung and relaxed, but always imbued with great intensity.

Among the major choral-orchestral works of the 19th century, Sir Roger Norrington and his former Orchestra, the Radio-Sinfonieorchester Stuttgart des SWR, have tackled over the years, now finally comes Brahms' "German Requiem." one of the most beautiful and popular sacred music works in the repertoire. Brahms’ contemporaries, including his close friend Clara Schumann were moved with the score and were enthusiastic about it - and it has been a favorite with the general public ever since. Although Biblical texts are used, the piece is not in the standard church-liturgical tradition. It was Brahms‘personal response to "those who mourn"! The central idea of this masterpiece is the reality of human existence. It is precisely this „earthly character“ that Roger Norrington uses to shape his interpretation emphasizing the grave beautify of the music and not religious awe; in this, Norrington draws us close to the composer’s intentions. He is ably supported by soprano soloist Christina Landshamer, basso Florian Boesch, SWR Vokalensemble Stuttgart and the NDR.

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A superior post-bop pianist influenced by Bill Evans and McCoy Tyner but long possessing his own sound, Enrico Pieranunzi is one of the top jazz pianists living in Italy. Perhaps the reason for the prevalence of Pieranunzi trio recordings can be summed-up in the following excerpt from Wim van Eyle’s insert notes to Enrico’s New Lands trio recording: “One of the most enjoyable of all Jazz forms is the piano trio: three is an ideal number for improvising together with great possibilities of interplay within the trio. If there are stylistic boundaries they can be crossed and passed at all times, the trio format is an ideal format, a start point for superb Jazz playing”

Sonatas includes works by Ludwig van Beethoven, Béla Bartók and Magnus Lindberg performed by pianist Pasi Eerikäinen and violin player Emil Holmström - Beethoven’s titanic Violin Sonata No. 9, Op.47, the Kreutzer Sonata, Hungarian composer Béla Bartók’s Violin Sonata No. 2, one of the most compelling creations of the composer’s avant-garde period. Sonatas, a world premiere on this recording, is a relatively early work by the Finnish Magnus Lindberg. In this work, the composer’s influence all hail from traditional musical traditions – German, French and Italian – though instead of fixating on Baroque or Classical styles, Lindberg takes inspiration from notable 20th-century composers. Pasi Eerikäinen plays first violin with the Finnish Radio Symphony Orchestra. Emil Holmström has a particular interest in the avant garde, be it Ferrucio Busoni, the Second Viennese School or electroacoustic music, which Holmström regularly performs as a member of the defunensemble.

The String Symphonies are among Mendelssohns very early works begun at the astonishing age of twelve years old. By then, he was already prodigious in his output along with regularly presenting in public parlor recitals in his home. The sterling LOrfeo Barockorchester led by conductor and founder Michi Gaigg present a captivatingly dynamic and vibrant reading of the first six of these preternaturally mature works.

Since 1991, a complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs. Each CD in this series is identified by Stockhausen's signature followed by an encircled number. The numbers indicate the general historical order of the works. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director. He personally mixed down the recordings, mastered them for CDs, wrote the texts and drew the covers.

Hailing from Brooklyn, New York, Sophie Auster is an American singer/songwriter and actress known for her resonant and rich pop songs that concern introspection, love, and life. Her sound evolved from the soft, lounge-like vocal pop on records such as her 2005 eponymous debut and 2012's Red Weather to the more amalgamated sounds on 2019's Next Time, which featured animated and upbeat alt-pop as well as slow, haunting folk.

Recent musicological research tends to suggest that the 'Markuspassion' is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain.

Arguably Modest Mussorgsky's greatest work, Khovanshchina was incomplete at the time of his death and so this glorious production, from the Vienna State Opera, employs Shostakovich's scoring with the addition of the final chorus composed by Stravinsky in 1913. It is a work of immense power and humanity, set at the time when Peter the Great assumed power in Russia, a turning point in Russia's history when old forces came into conflict with new. Political intrigue, religious persecution, the tragedy of a nation, all form a backdrop against which individual dramas are acted out. The great Bulgarian bass, Nicolai Ghiaurov sings Prince Ivan Khovansky, the leader of the revolutionary Streltsys and Paata Burchuladze sings Dositheus, the leader of the Old Believers. Fellow Russians, including Ludmila Semtschuk as Marfa and Vladimir Atlantov as Khovansky's son, complete this formidable cast. This live recording of Alfred Kirchner's production of Khovanshchina is conducted by Claudio Abbado. Triumphantly hailed as "one of the great performances of our day, an unforgettable display of skill and sympathy combined", by the Financial Times, it is a recording to treasure.