Vinyl LP pressing. A giant of the R&B and pop scenes in the 1950s and 60s, Roy Hamilton's nickname "The Golden Boy of Song" was richly deserved. A mentor to Elvis Presley, and the only act Jerry Lee Lewis never wanted to follow on stage, Hamilton's beautiful baritone voice was carefully honed and crafted. His versions of pop standards, like "You'll Never Walk Alone", and "Unchained Melody" have not only stood the test of time, they have become the benchmarks of how ballads should be sung. The fact that Hamilton's music is rarely heard today is a tragedy and underlines the need for a collection of this gifted performer's music. Beyonce clearly felt the same way, having sampled Hamilton's "Don't Let Go" on the prelude to "Texas Hold 'Em" on her "Cowboy Carter" album. For decades his family has lobbied to have Hamilton inducted into the Rock 'n' Roll Hall of Fame. Listen to this fabulous collection, and you will see why he deserves wider recognition as we take in "You'll Never Walk Alone", "Ebb Tide", "Unchained Melody", "Everybody's Got A home", "Pledging My Love" and "You Can Have Her" along with many more

The festival’s co-founder Strauss was a contemporary composer in his time, still capable of writing new and original works more than two decades later, and so the performance of contemporary works remains at the heart of the Festival’s identity, not least as a commitment and a counterbalance to assiduous cultivation of the classics. At a time in which the umpteenth new recording of classical works often seems less than essential, credit is all the more due to the Festival for programming “new music” that is already over a century old. One of this year’s new releases is Krenek’s Orpheus und Eurydike, a work that is several things rolled into one: “classical” subject-matter in the sense of a further reworking – in this case, of the creation myth of opera itself, not just since Monteverdi (1607), but since the primal “big bang” of the operatic cosmos with Caccini/Peri (1600); one of the timeless tales of human existence linking love, longing for the past and their transcendence in art; a bang-up-to-date work of art that nevertheless remains a work of its time, the era in which the Festival was founded; and above all a festal tribute to honour the 90th birthday of a major 20th-century composer. Krenek himself attended the1990 Festival performance documented here. Kokoschka’s stormily Expressionist narrative was put to paper between 1915 and 1917 in the aftermath of a passionate love affair with Alma Mahler, and set to music in headstrong mixed style by Schoenberg’s highly independent pupil between then and 1923. Given the literary standing of the librettist (and of the composer), ORFEO is additionally printing the libretto (from which the title of our text is taken), also bearing in mind that this recording is the first and only one ever to be released.

«Apt for Viols and Voices». That's how the fusion of voices and viols is mentioned in several documents of the English renaissance. This CD is devoted to two of the most important composers of that period who've bequeathed us an important body of 'consorts' for 4 and 6 part viols as well as some very moving 'consort songs'. Both were employed at the royal court. The former Elisabeth the 1st, the latter by James the 1st. The elder remains faithful to the basic principles of polyphony acquired with his master Thomas Tallis for whom he writes the poignant elegy 'Ye Sacred Muses'. The second musician, on the other hand, a viola virtuoso, leads his instrument into new avenues and develops his polyphony through audacious experiments.

Expectations for Dunedin Consort’s recording of Acis & Galatea were high; its release in 2008 followed on from its hugely successful recording of Handel’s Messiah. The combination of Messiah’s award-winning cast and director John Butt’s insights into authentic performance practice ensured it was met with numerous recommendations and outstanding reviews. Acis & Galatea is a beautiful pastoral entertainment; Handel’s first dramatic work in English is a simple yet highly emotional story that encompasses the extremes of love and tragedy. There are notable differences in the original performing version from 1718, including changes in instrumentation and vocal scoring (there is no alto line) made by Handel to suit the forces at Cannons. Butt chose this version specifically because of the small forces involved, since this was one of the aspects that made Messiah so distinctive; although there have been ‘first versions’ of Acis recorded before, Butt felt that there were certain aspects of the original version that had not yet been sufficiently realized.

Classical Music

Classical Music

Dear Listener, Welcome! I am very excited about this project because I get to share the bill with two of my favorite musicians, Bill Cunliffe and Jeff Hamilton. For over ten years I had the honor of sharing rhythm section duties with these fine gentlemen as part of the acclaimed Clayton-Hamilton Jazz Orchestra. Over the years the fun and joy of music making only got better, and we got to know each other's styles of playing on an intimate level. Some years ago, Bill mentioned his interest in the Hammond B-3 organ and after a few initial performances the idea for this project began to germinate. It was hard to coordinate everyone in one city for rehearsals, however fax machines were always available for swapping tune ideas and arrangements back and forth. We decided that the bulk of the material should be our own compositions and added several standard tunes that we love to play on to the mix. After much calendar consultation we found a block of days where we would all be in Los Angeles at the same time. Rehearsals were short, easy and full of laughter. Bill and I came in with arrangements and tunes. Jeff immediately put his personal stamp on the project with a lot of great ideas and in no time at all we had fifteen tunes ready to go. We recorded this project in one day with all of us in one room for optimal listening and communication. Most of the tunes were done in one or two takes with no overdubbing or 'fixing.' There was little need to discuss the music. We simply played and let the interaction of the moment dictate the direction for us. After much listening and discussion of various takes over several months, we settled on what we felt were the best twelve tunes we had. Kudos goes to our good friend Maurice Gainen for his great ears and fantastic work in the mastering process. He truly brought the sound quality up to an outstanding level. Bill Cunliffe's mastery of the organ is apparent from the very first note and Jeff Hamilton proves yet again why he is one of the most sought after drummers working today. Rather than talk about the music itself, I'll simply invite you to take a listen and join us on our journey through this set. Thank you for visiting, Jim Hershman.

A very special dance occasion in honour of a celestial alignment of events, the Gala des Étoiles celebrates the Ballet Corp’s time-honoured tradition of a Grand Gala at La Scala as it coincides with Milan’s tenure as host city of EXPO 2015. Symbolically espousing the spirit of the Universal Exposition by bringing together outstanding international talent, La Scala’s étoiles – Svetlana Zakharova, Roberto Bolle and Massimo Murru – extend Milan’s red carpet to a veritable constellation of guest dancers from around the world, including rising stars and luminaries of the ballet universe.

A very special dance occasion in honour of a celestial alignment of events, the Gala des Étoiles celebrates the Ballet Corp’s time-honoured tradition of a Grand Gala at La Scala as it coincides with Milan’s tenure as host city of EXPO 2015. Symbolically espousing the spirit of the Universal Exposition by bringing together outstanding international talent, La Scala’s étoiles – Svetlana Zakharova, Roberto Bolle and Massimo Murru – extend Milan’s red carpet to a veritable constellation of guest dancers from around the world, including rising stars and luminaries of the ballet universe.

This production of Shakespeare's historical play Richard II stars David Tennant as the title monarch, a leader who plunges his people into a war that goes on for a century.

"•First release in a new partnership with the RSC • Starring distinguished TV, Film and Theatre actor David Tennant whose credits range from Doctor Who to Hamlet at the RSC • Production directed by Gregory Doran “one of the great Shakespearians of his generation” (The Sunday Times)"

“[Guido] certainly knew how to write attractive music, full of invention and lovely sonorities. If anyone is tired of Vivaldi's Four Seasons, and I suspect many will be, then this new disc provides a refreshing alternative with thrilling playing. The recording made in New College, Oxford, is first rate.” – TheClassicalReviewer

“Here is a beautiful work, vigorously played by 'The Band of Instruments', a group based in Oxford that accompanies Caroline Balding who shows herself to be a great violin virtuoso . Giovanni Antonio Guido's 'Four Seasons' might not show the musical richness of Vivaldi's work, but this is nevertheless music extremely pleasant to listen to, in a fresh and sharp reading by The Band of Instruments.” - Remy Franck, Pizzicato

Dany Doriz, the man behind the Caveau de la Huchette club since 1970, and a peerless vibraphone player in his own right (with the blessing of Lionel Hampton), extends an invitation to Scott Hamilton, a world icon in saxophone swing (cf. the Michel Jonasz album ‘La boîte de jazz’)… Both of them living legends, and both the keepers of their instruments’ memory. Their many meetings onstage over the years were bound to result in a record. The main strength of this album: resolutely contemporary jazz, combined with just as much respect for tradition, elegance and virtuosity. And the outcome is sealed by profound feelings of mutual admiration and friendship. They restore to life a whole era of classic jazz… and make it part of the great jazz repertoire. Patrick FReMEAUX

Roy Hamilton was one of the truly individual and innovative performers of the R&B and pop scene during the 1950s and early '60s as he combined his classically-trained vocal style and his roots in black gospel music to bring another dimension to interpretations of contemporary pop and R&B material as well as to classics of the Great American Songbook to achieve a string of pop and R&B hits during these years. Along the way, he also provided inspiration for R&B and soul singers who followed in his wake, most notably Brook Benton, for whom he was a significant mentor, and Sam Cooke, encouraging him to turn towards secular music. Elvis Presley also credited him with influencing his ballad-singing style, while the Righteous Brothers also drew on his hit repertoire. This great-value 80-track 3-CD set comprises almost all his A & B sides recorded for the Epic label during this era, and features all his sixteen career hits he achieved before his untimely death from illness in 1969, including the R&B No. 1s "You'll Never Walk Alone" and "Unchained Melody", and the Top 10 classics "Ebb Tide", "Hurt", "If I Loved You", "Don't Let Go" and "You Can Have Her". It's a comprehensive introduction to an artist who has not received the attention or recognition over the years that his influence and success merits, and it offers a substantial and enjoyable showcase for a highly distinctive

This album is the fourth in a series of concert band recordings honoring the lives and music of individuals who have made significant contributions to band repertoire and to music education. The Legacy of Robert Russell Bennett honors a man who achieved great fame as an arranger, but always considered his true calling to be a composer. Bennett arranged hundreds of Broadway and film scores and composed operas, symphonies, and concertos. Representing some of the finest musical talent in America, The United States Army Field Band is known around the world as "The Musical Ambassadors of the Army." The Legacy of Robert Russell Bennett features some of Bennett’s greatest works including "1939 World’s Fair: TNT Cocktail" and "Down to the Sea in Ships." Honoring the memory and innumerable musical contributions of Robert Russell Bennett, this album is both inspiring and captivating.

Commissioned in 2012 to commemorate the centenary of the outbreak of the First World War, Timothy Hamilton’s Requiem draws its inspiration from the Roman liturgy. In twelve movements, it conjures up a vivid sequence of images depicting both the horror of war and the calmness and eeriness of the aftermath of battle, interspersed with moments of somber and contemplative reflection most notably in the plangent setting of Isaac Watts’ ‘Give us the wings of faith’ and the orchestral interlude ‘Lest We Forget.’ The work builds to a powerful and moving conclusion with soprano and then chorus welcoming the souls of the fallen into paradise.