... through which the past shines... is a collection of the current complete works for guitar, both solo and in ensemble, by composers Nils Vigeland and Reiko Fueting. The music is emblematic of both composers' sophisticated voices, grounded in the tradition while forward looking in nuanced and elegantly integrated ways. Vigeland, whose mentors included Morton Feldman and Lukas Foss and who directed the influential Bowery Ensemble in the 1980s, is an important link in the "New York School" of composers. As director of the composition department at the Manhattan School of Music for several decades, he had a profound influence on several generations of composers, including current MSM faculty member and East German native Reiko Fueting. All the performances on this recording of music by Vigeland and Fueting by guitarist Daniel Lippel (ICE, Flexible Music), John Popham (Longleash, Either/Or), and Vigeland himself are the byproduct of close working relationships developed over the last 17 years.

In 2014 in Trieste, Italy, the Musica Libera Association started the Festival Viktor Ullmann to bring to life the music of many composers persecuted by the Nazi and Fascist regimes for their Jewish origin and political, cultural, and artistic commitment. Since it's foundation, the Festival has set itself the ambitious purpose of rediscovering those musical pages, forgotten for too long, to revive the creative genius of their composers and reflect on the Shoah from a different point of view. Some of these musicians saved themselves by eventually finding their way into exile outside Europe. In this context, the present project focuses on music dedicated to the clarinet and piano chamber ensemble, with Davide Casali and Pierpaolo Levi performing an interesting and lesser-known repertoire by Italian composers from the historical 20th century.

Leading performers of 17th-century music the Magdalena Consort, Fretwork and His Majestys Sagbutts and Cornetts combine forces under the artistic direction of William Hunt for their third release exploring the English Anthems with instrumental consort for ceremony, reflection and prayer to celebrate the 400th anniversary of Orlando Gibbons. Praise for Chains of Gold Vol 1 5 stars "Subtle, seductively supple and sinuous singing and playing... Volume 2 from this dream-team will be eagerly awaited" - Choir and Organ 5 stars "This is the finest recording of this quintessentially English music that we are likely to have... a real treat, and an impressive master-class in how these texts should be declaimed" - Early Music Review

Catalina Bertucci, Georg Poplutz, and Tatjana Dravenau don't just say it "between the flowers" on their new GENUIN album - they gather lieder from the 19th and 20th centuries that revolve around the theme of flowers and trees. Music and poetry speak directly and clearly of the associations between the language of love and the plant world - associations that were clear and unmistakable to people of the Romantic era, but which must be decoded anew for us today. These three remarkable artists uncover that hidden language in the most beautiful and sensuous way: through dreamlike interpretations of lieder from Schubert to Schonthal, Loewe to Faltis, and Kralik to Schumann.

More than 2 *1/2* hours of piano masterpieces in one low-priced, 2-CD set: nocturnes, mazurkas, polonaises and waltzes by Chopin; Liszt's Liebestraum No. 3 and Hungarian Rhapsody No. 2 ; Beethoven's Fur Elise and Adagio from Moonlight Sonata ; preludes by Rachmaninoff, plus Brahms, Debussy, Gershwin and more, played by Barenboim, Arrau, Brendel and many other masters!

From the outset, Sir Simon Rattle's conducting career has been marked by a spirit of innovation and renewal - and contemporary music in all it's facets continues to play a significant role in his work. So it was only natural that, upon taking up his post as chief conductor of the Bavarian Radio Chorus and Symphony Orchestra, he should dedicate a concert to musica viva. The programme featured the world premiere of Vito Žuraj's "Automatones" as well as Luciano Berio's "Coro". Sir Simon Rattle has conducted the latter piece several times before, but this performance marks the first recording under his baton. This is due to the unique demands that the composition places on recording technology: choir singers and orchestra musicians are positioned in pairs on the podium to overcome the visual and acoustic separation of choir and orchestra voices. This presented a particular challenge to the Bavarian Radio recording team, but they rose to it successfully, as can be heard on the new CD from BR-KLASSIK. Composed between 1975 and 1976, Luciano Berio's "Coro", for forty voices and orchestra, takes anonymous folk poems by the Sioux, the Navajo and the Zuni, as well as song texts from Polynesia, Peru, Croatia, Venice, Piedmont, Chile, and the Song of Solomon - all of them reflecting the deeply human urge for freedom - and combines them with the moving poetry of Pablo Neruda, whose death coincided with the bloody suppression of the Allende democracy in Chile by Augusto Pinochet in September 1973.

Helmut Lachenmann, who celebrates his 90th birthday in the music year of 2025, has composed several milestones in contemporary classical music. Sir Simon Rattle and the Bavarian Radio Symphony Orchestra are dedicating themselves to some of these exceptional works. In his tuba concerto Harmonica, Helmut Lachenmann explores the limits of sound - with music that oscillates between eruption and silence, by means of "strictly constructed denial" (Lachenmann) and by deliberately disrupting the familiar, and eludes socially preformed listening expectations. This appeal to the audience's self-awareness remains as relevant as ever. The soloist is Stefan Tischler, principal tuba player of the Bavarian Radio Symphony Orchestra, and the live recording with the BRSO conducted by Sir Simon Rattle was made on March 22, 2025. Klangschatten - mein Saitenspiel by Helmut Lachenmann deals with the "verso" of sound, it's suppressed and "unwelcome" components. The spectrum here ranges from toneless or muffled sounds to differently coloured noise and clear tones. Lachenmann himself described the piece as " an offer of expressive intensity that reflects the bourgeois longing for beauty and seeks to fulfil it, that is, to overcome it." The work was performed by the Bavarian Radio Symphony Orchestra under the baton of Matthias Herrmann on May 23, 2025 in the Herkulessaal of the Munich Residenz. Helmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and has given numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, including the German Music Authors' Prize of GEMA (2015) for his lifetime achievements and, most recently, for his compositional work, the 'President of the French Republic Prize' from the Academie Charles Cros (2025).

The latest musica viva CD presents three contemporary works for double-bass, performed by the renowned double-bassist Frank Reinecke (born 1960), who was a member of the Bavarian Radio Symphony Orchestra from 1984 to 2024 and is in great demand at international festivals as a soloist and chamber musician. Working closely with renowned composers, Reinecke has premiered numerous works, including Flucht ('Flight/Escape') by Nikolaus Brass (2009) and iv 18 by Mark Andre (2021), both of which can be heard here in recent recordings. Born in Paris in 1964, the composer Mark Andre creates existential spaces of experience in his music that are characterised by subtle processes of change. At the heart of his thinking lies the question of disappearance, which relates to all musical parameters. Above all in his chamber music, which is as delicate as it is focused, the devout Protestant proves himself to be a sensitive explorer of sound. His solo work for double-bass iv 18 ('For they were afraid'), commissioned between 2018 and 2021 by musica viva of Bayerischer Rundfunk and the Berliner Festspiele / Musikfest Berlin, was premiered by Frank Reinecke at the Musikfest Berlin in 2021. This recording of the work was made between November 7 and 9, 2023 in the Herkulessaal of the Munich Residenz. Nikolaus Brass regards the three movements he composed for solo double-bass in 2009 under the title Flucht ('Flight/Escape') as studies or etudes for the instrument. The first movement highlights various 'gestures of the line', which in the third movement are narrowed down to a single gesture, that of the glissando. In the central movement, the core of the instrument is brought to the fore. The title Flucht can be interpreted musically in several dimensions. Frank Reinecke gave the work it's world premiere in Hamburg in June 2013. This recording was made on June 20 and 21, 2012 at the Himmelfahrtskirche in Munich-Sendling. Karlheinz Stockhausen (1928-2007) composed the first version of In Freundschaft ('In Friendship') in 1977 as a birthday present for the clarinettist Suzanne Stephens, and also wrote a version of it for the flute at the same time. In 1978, he revised the work and, on that occasion, wrote versions for the oboe, trumpet, violin and viola. Further versions followed for the basset horn and almost all other orchestral instruments. A first version for cello, prepared in 1981, can also be played on the double-bass. This live recording of Frank Reinecke's performance was made during a musica viva concert on November 6, 2020 in the Herkulessaal of the Munich Residenz. ? Impressive performances of three original contemporary compositions for solo double-bass by renowned double-bass player Frank Reinecke: Mark Andre (born 1964): iv 18 ('For they were afraid') (2022/23) Nikolaus Brass (born 1949): Flucht (2009) Karlheinz Stockhausen (1928-2007): In Freundschaft (version for double-bass; 1977/2008) ? Andre and Brass wrote their respective compositions for Frank Reinecke (born 1960), who performed the world premieres, and dedicated them to him. In 1998, Stockhausen also dedicated a double-bass version of his work to Reinecke ? Three exciting contemporary pieces for the 'wonderful instrument' (Nikolaus Brass, 2025), performed by a world premiere performer

180-Gram Virgin Vinyl Limited Edition of 1000 copies - *AllMusic. Swingin' Easy finds the great Sarah Vaughan backed only by a rhythm section of piano, bass & drums, a format in which she only recorded a few times during this early period of her career. This is one of Sarah Vaughan's lesser known albums for Emarcy, combining two separate trio sessions from 1954 and 1957. The earlier date includes pianist John Malachi, bassist Joe Benjamin and drummer Roy Haynes. The second trio includes the same drummer, plus pianist Jimmy Jones and bassist Richard Davis. 180-gram VIRGIN VINYL LIMITED EDITION of 1,000 COPIES. The Complete Album + 5 Bonus Tracks.

& JULIET / O.B.C.R. - The full West End creative team reunites for the Broadway production of & Juliet and includes David West Read (Book), Max Martin (Music & Lyrics), Luke Sheppard (Direction), Jennifer Weber (Choreography), Bill Sherman (Musical Supervision, Orchestrations and Arrangements), Soutra Gilmour (Scenic Design), Paloma Young (Costume Design), Howard Hudson (Lighting Design), Gareth Owen (Sound Design), Andrzej Goulding (Video & Projection Design) and J. Jared Janas (Hair, Wig & Makeup Design) and Dominic Fallacaro (Music Director). US Casting is by Stephen Kopel and Carrie Gardner, CSA. & Juliet is Executive Produced on Broadway by Eva Price.

Before the Rock Era, the music played at dance venues was played by Big Bands. Largely instrumental at first, singers began to front the Big Bands, and these became the most heralded voices in the history of recording. This 3 CD collection contains original recordings of the finest female divas ever. Artists include: Lena Horne, Ella Fitzgerald, Julie London, Bessie Smith, Billie Holiday & more.

Recorded in: St Bartholemew's Church, Orford, Suffolk 11-13 December 1995 Producer(s) Gary Cole Sound Engineer(s) Gary Cole Richard Smoker (Assistant)

REVIEW

Yates shows lots of vivacity as well as the crisp neatness we have come to expect of her. The finale of the Italian Concerto, for example, simply bubbles with joyousness, as does the exuberant bravura A major Sonata by Scarlatti. She is admirably precise in the Rameau gavotte and variations, direct and simple in Le coucou, brings real brio to the Courante of the Handel suite (she treats its Allemande rather freely); her performance of the unusually shaped C major Sonata by Scarlatti – a quiet pastoral followed by rural bagpiping and then noisy revelry – is excellent. But to me one of the highlights of her recital is Duphly’s superb melancholy rondeau: I have heard it played with greater gravitas, but it is entirely convincing in her hands; and the much-employed low register of her Goujon-type harpsichord sounds very fine.

--Gramophone

Hipness Personified: Miles Davis' 'Round About Midnight Features Famed Quintet with John Coltrane Playing Memorable Hard Bop and Ballads

Sourced from the Original Master Tapes and Pressed on MoFi SuperVinyl

Mobile Fidelity's 180g 33RPM SuperVinyl LP presents the music with Engrossing Transparency, Presence, and Focus

Numbered-Edition Reissue of 1957 Album Features Ultra-Low Noise Floor, Dead-Quiet Surfaces, and Superb Groove Definition

Miles Davis' first album for Columbia, 'Round About Midnight, represents the beginning of a three-decade-plus relationship with the famed label and the start of an extended collaboration with saxophonist John Coltrane. It stands as a hard-bop benchmark - a summation of the styles that came before it's creation, an immersion into the period's cutting-edge strains, and a hint of the modalism that would follow. The record remains ageless, it's fundamental cool epitomized by first-rate arrangements and astonishing performances of pensive ballads, bebop classics, and pop standards.

Part of Mobile Fidelity's Miles Davis SuperVinyl reissue series, Round About Midnight resonates with newfound palpability and emotionalism on the label's 180g 33RPM SuperVinyl LP. Sourced from the original master tapes and housed in a Stoughton jacket, this numbered-edition collectible traces the individual paths each musician takes in contributing to the whole - from pianist Red Garland's left hand weaving counter-melodic chords to Coltrane infusing a tune with forward, harmony-defying patterns to the extent that iconic pianist Cecil Taylor declared 'Coltrane's what you hear on that record' the first time he heard the album. Indeed, the music sounds cohesive, immediate, and involving. Ballads are warm, lush, gentle, illuminated; upbeat pieces bounce, snap, and energize. The high ceilings at Columbia's 30th Street Studio doubtlessly add to the sonic awe. This is hipness personified.

1/4' / 15 IPS; Analog Madter DSD 64; Analog Console Lathe; 180g Numbered Special Edition

Track List:

Side One: 1. 'Round Midnight, 2. Ah-Leu-Cha, 3. All of You

Side Two: 1. Bye Bye Blackbird, 2. Tadd's Delight, 3. Dear Old Stockholm