This new release is the soundtrack from the motion picture, Bach in Brazil. The story is inspired by true events, and follows retired German music teacher Marten Brueckling as he travels to Brazil to collect a sheet of original Bach manuscript, but ends up teaching music to children in a juvenile detention center. The tracks on this release are enchanting arrangements of Bach’s best loved melodies, mixed with Brazilian flair. “Our aim in Bach in Brazil is to bring Bach’s melodies to life with Brazilian rhythms and instrumentations, rather like Marten Brueckling in the film gaining a new perspective on his life from the children and the Brazilian feeling for life.”

YO-YO MA: MADE IN AMERICA

This is a disc that many strictly "classical" listeners may pass over--not surprisingly, since this isn't really a "classical" recording. However, its illustrious and very accomplished host deserves a chance to show another side (or sides, actually) of his musical life, one that includes informal collaboration in his New York home with artists from pop, jazz, and non-western classical genres--and so he offers this rather congenial hodge-podge that somehow goes together while juxtaposing extremely diverse styles and levels of artistic refinement.

Actually, when you hear the opening track--a fine light jazz treatment of I loves you Porgy, with Bell, pianist Billy Childs, a number of other instrumental players, and featuring jazz/pop trumpeter Chris Botti--you may just wish this group would take the whole program. But we move from Gershwin to Dowland via the voice of Sting, whose slightly strained, boyish quality is overshadowed by the lively obbligato/accompaniment of Bell's violin.

There are hits--bandoneon-ist Carel Kraayenhof and Bell in Piazzolla's Oblivion and Luis Bacalov's Il Postino; Bell, baritone Nathan Gunn, and pianist Jeremy Denk in Rachmaninov's song O, cease thy singing, maiden fair (with obbligato by Fritz Kreisler); Ravi Shankar's duet for sitar and violin, performed by daughter Anoushka and Bell; Bell and Marvin Hamlisch's rendition of I'll take Manhattan--and misses: pop singer Josh Groban's Cinema Paradiso (exactly what language is that...?); Kristin Chenoweth's unconvincing, uncomfortable My Funny Valentine (not her song); bassist Edgar Meyer and mandolinist Chris Thile's weirdly meandering Look Away. But hey, this is a hodge-podge meant to capture the spirit of Bell's "anything goes" house concerts--and in that it succeeds.

Of course, the recordings were not actually made in Bell's home--rather they were made in a couple of different studios, and you can tell. There's a decided artificiality to the balances due to some odd mixing and highlighting of certain instruments that do not seem to share the same acoustic space. Nevertheless, I enjoyed this, especially for Bell's clever, artful, and always appropriately stylish playing.

--David Vernier, ClassicsToday.com

Discover Bach includes some of this great Baroque composer’s best known works, such as Ave Maria, Air, Brandenburg Concerto, Cello Suites, Goldberg Variations, and many more.; The Discover Series from Berlin Classic aims to make classics popular, firing people up about the music presented, regardless of musical taste.; Rather than focusing on complete works, this series focuses on individual pieces that have rewritten our musical history.

For 20 years now, Bell’Arte Salzburg has been one of the leading ensembles for period performance practice. For its new album “Himlische Weynacht”, the musicians under the direction of Annegret Siedel went in search of the most impressive and moving works of Luther’s day. Vocal support for Bell’Arte Salzburg in the choral works comes from young soprano Marie Luise Werneburg and the well-known bass Klaus Mertens, two exceptional vocal soloists in this genre. In consort with the ensemble, they perform a highly varied round of festive airs, adding detail to our mental picture of Luther’s time with their musical representation of a Christmas celebration in those days.

Bach: Brandenburg Concertos

Bach’s Cello Suites, the finest of all such works in the literature, speak in pure and clear voice, always spiritual yet down to earth. Isang Enders (b. 1988) was principal leader of the Dresden Staatskapelle cello section for four years before embarking on his solo career. He is a co-founder of the Ceres Ensemble and a founding member of the Int’l Shostakovich Festival. “The suites should speak, sing, dance, hunt and contemplate – altogether subjectively and characteristically. The subjective aspect of this recording is the result of my firm conviction." – Isang Enders

MOZART:ENTFÜHRUNG AUS DEM SERA

Simone Dinnersteins first recording for Sony Classical, BACH: A STRANGE BEAUTY, has the critically-acclaimed pianist returning to Bach, this time combining three transcriptions of his Chorale Preludes, with one of his English Suites and two of his Keyboard Concerti, again revealing her intense and expressive playing style, as well as her individual approach to Bach's music. For her first orchestral recording Simone is joined by members of one of Berlin's most venerable institutions - Kammerorchester Staatskapelle Berlin, with Stephan Mai as concertmaster. Grammy Award winning producer Adam Abe's house, who produced Dinnerstein's Goldberg Variations disc and her follow-up album THE BERLIN CONCERT, returns to recapture her distinctive sound on BACH: A STRANGE BEAUTY.

As the predecessors of Sony Classical, CBS Masterworks had not a catalogue of "authenticity-minded" recordings (the pioneering efforts of Raymond Leppard and Jean-Claude Malgoire notwithstanding), Sony made a distinctive new start and engaged indubitably one of the most experienced producers in the field of early music, Wolf Erichson. If the successes secured by such musicians as Gustav Leonhardt, Nikolaus Harnoncourt and Frans Brüggen in the 1960s were the most visible signs to a wider audience of thorough-going change in the interpretation of music from medieval to baroque times, there was no doubt in assigning a part of the general success to the work of the production teams behind the recordings. Wolf Erichson was involved in producing recordings for many artists through his work for Das Alte Werk series. Success followed him since the early 1970s, when he founded the SEON production company. Later, Sony Classical’s SEON line brought the pioneers of period intruments and vocal performances such as Frans Brüggen, Amer Bylsma, the Kuijkens, Gustav Leonhardt, and Konrad Ruhland on the international market at a budget price. Recordings made on SEON enjoyed both popular and critical acclaim. Later, producer Wolf Erichson, supervised Sony's VIVARTE label, which was a label devoted solely to producing historical music using modern recording technologies. Music critic Tom Manoff said these digital recordings of the VIVARTE series are among the best he has ever heard. The upcoming VIVARTE collector’s boxed sets feature attractive repertoire selection out of the legendary catalogue of ancient music. The CDs appear in their original coupling and cover at a special price. Some VIVARTE sets also include selected recordings from the SEON catalogue to round up the collections of selected titles.

GOULD IN CONCERT: LIVE IN SALZ

By choosing to record classical repertoire with electric bass, including Bach’s Cello Suites, Jacques Bono has acquired a unique position in the music business. Playing them at their Thuringian church “original sites” put Bach's works into high contrast by interpreting them on an instrument of our times, more than 300 years after their composition – a project never ventured before. The time, the separation into musical genres and the familiar listening sensations are all overcome in Jacques Bono's performances. The cellist unperturbedly countered initial doubts by critics who claimed that it was impossible to perform Bach's cello suites on an electric bass with a musical venture that has music lovers of all origins intrigued – a revolutionary act in the best sense of musical tradition. In 2013 Jacques Bono had the idea of recording Bach’s 'Inventionen' in two voices together with a female violinist. On the German classical music scene he could not find a female violinist who would venture to play freely with him without fear of offending academically imposed values. He was thus delighted to find Tien-Hsin Cindy Wu in Los Angeles, who proved to be a violinist capable of playing J. B. Bach's music vivaciously, in a heart-felt manner and free of dogma.

On his debut Navona Records release, ALL THE WAY BACK, pianist and composer Vytautas Smetona presents a collection of keyboard repertoire that highlights his enthralling and committed interpretations of some of the great composers' masterworks as well as an example of his faculty as a cultivated and dynamic composer.

The pieces on this album offer Smetona technical feats and expressive themes, all of which the pianist handles with ease, determination, and eloquence. From Bach's lyrical and joyous Prelude and Fugue in C-sharp Major, BWV 848 to the somber and dramatic range of Liszt's Funerailles (October 1849), Smetona evokes passion and refinement in his performances. The technical mastery of works such as Brahms's Intermezzo in B-flat Minor, Op. 117, No. 2, Schumann's Fantasie in C Major, Op. 17, and Chopin's Ballade No. 1 in G Minor, Op. 23 is handled by Smetona with sophistication, lucidity, and powerful passage work. Smetona shows us a balance between accurately playing the notes on the score and interpreting the feeling between them.

Thomas Bowes' Sei Solo shines the spotlight on the sonatas and partitas for solo violin composed by Johann Sebastian Bach in 1720. Bowes believes that these six stand-alone compositions, while each individually offering insight into Bach's genius reveal more when taken as one epic work - and especially when set against the tragedy in Bach’s life in the year of composition. The three albums in Bowes’ release contain a total of six tracks. Each album starts with a sonata and concludes with a partita, moving through different keys. The sonatas showcase a larger, more abstract expression, while movements in the partitas are more focused on elements of the dance. Bowes views these six compositions as a vehicle for exploration into the existential, taking his cue from Bach’s cryptic title ‘sei solo’, which reads ‘you are alone’, punning on the Italian for ‘6’ and ‘you are’. Though the performer flies solo on all of the tracks, he reaches well beyond the limitations of just one instrument. The focus and attention the violinist brings to all six tracks draws the listener into a meditative state of mind. It’s almost as if Bowes is performing solely for each individual listener, providing an intimate experience that demands attention yet allows room for contemplation.

Winter Solstice

Step By Step: Hammer Dulcimer

John Mccutcheon'S Four Seasons: Summersongs

Mail Myself To You

Howjadoo

FANTASIA UND FUGE

Bach: Italienisches Konzert - Französische Ouvertüre

The Wind That Shakes The Barley: Hammer Dulcimer

Ten CD box set. The Studio Albums 1969-1978 rounds up the remasters of what many consider Chicago's golden period - the band's first 10 albums. Every one of the albums from 1969's Chicago Transit Authority to 1978's Hot Streets is here, packaged as paper-sleeve mini-LPs. For hardcore fans, this is a handsome way to get the remasters, and for more casual fans, it's a convenient and relatively affordable way to get the best albums of Chicago in one place.

Internationally renowned flutist Ulla Miilmann is the recipient of numerous awards and prizes including the prestigious “Flute-Talk” competition in Chicago and the Gold Medal at the Danish All Music Competition, among others. Flutist Ulla Miilmann was born in 1972 in Denmark. She received her Bachelor of Music at North Carolina School of the Arts in 1992. During her college years, Ms Miilmann was already selected as representative of Denmark in the European Broadcasting Union "Concerts for Young Soloist". Currently she is the principal flutist of the Danish National Symphony Orchestra. Ms. Miilmann was nominated for the GRAMMY award for her performance of Ole Schmidt's Concerto for flute and string orchestra. Together with the elite instrumentalists of Denmark: Søren Johannsen on harpsichord and Kjeld Lybecker Steffensen on Baroque cello, Ms Miilmann interprets the complete flute works by J. S. Bach including the Partita in A minor for solo flute.

2019 holiday release from the legendary "rock band with horns". Produced by founding member Lee Loughnane, Chicago Christmas is the 37th album of the band's career and it's fourth holiday collection. Whereas it's previous releases focused more on traditional Christmas songs, the new record spotlights holiday music the band wrote especially for the album. Along with the new songs, the album also features the band's interpretations of two holiday standards: "Here We Come A Caroling" and "Sleigh Ride." It's the second time Chicago has recorded "Sleigh Ride." A different version appears on Chicago XXXIII: O Christmas Thee (2011). The album's other non-original track is a soulful Chicago interpretation of the Hal David and Burt Bacharach classic, "What The World Needs Now Is Love," which founding member Robert Lamm thought had a timely message for the holidays. Chicago Christmas features original compositions by many of the band members, along with unmistakable horn arrangements by founding member James Pankow. The album was recorded and mixed by Tim Jessup.

Lizzo COCONUT OIL - Coconut Oil is the debut solo EP by American singer and rapper Lizzo. It was OTIGINALLY released in 2016 by Nice Life Recording Company and Atlantic Records, Lizzo's first major-label release. Lizzo co-wrote each song on the album, while enlisting Ricky Reed, Christian Rich, Dubbel Dutch, and Jesse Shatkin for the album's production. The result was a departure from Lizzo's previous hip hop releases. Lyrically, the extended play explores themes of body positivity, self-love, and the journey to those ideals. Coconut Oil received positive reviews from music critics.

ATLANTIC SINGLES COLLECTION 1968

ÆTERNUM is a tribute to music's infallible steadfastness against the mundane adversity of human existence. Brazilian-born pianist Eliane Rodrigues convinces with her forceful, furious interpretations of keyboard works by Johann Sebastian Bach and Ludwig van Beethoven – among them the latter's Fifth Symphony, grippingly arranged by Rodrigues herself. Rodrigues, who currently teaches piano at the Antwerp Conservatoire, is well-known for her prolific output of recordings. ÆTERNUM stands out not only for its celebration of Beethoven and his respected predecessor J. S. Bach, but also for the pianist's ability to uncover the hidden layers of well-known repertoire pieces. The listener encounters a Beethoven of unparalleled vehemence, but also, hauntingly, sees the veil lifted from Bach's sublimity, usually hidden in plain sight. When it comes to the struggle of the limits of individual existence with its desire for the eternal, this is the clearest example one could imagine. The secret star of the album, however, is Rodrigues' Brahmsian arrangement of Beethoven's Symphony No. 5. The pianistic interpretation of her own arrangement is strikingly Romantic, not Classical: there is no trace of the straight, light-fingered piano technique of the era, but instead a truly Late-Romantic force which is quite appropriate for the subject. Beethoven, who himself was known for his powerful playing style, might very well have approved. But Rodrigues goes even further and infuses her rendition with an abundance of late 19th-century rubato, driving the music to an awe-inspiring frenzy. It's a truly futuristic approach, and possibly how the composer might have imagined his works to be played, had he lived half a century later. ÆTERNUM, Latin for "everlasting," pays appropriate tribute to this years' jubilarian Beethoven and his great proto-colleague J. S. Bach: the works on this album have stood the test of time, and it's not unlikely that Rodrigues' interpretation thereof will as well.

Vinyl LP pressing of this collection from the soul/R&B legend.

Pianist Simone Dinnerstein and singer-songwriter Tift Merritt join forces for the first time in Night, a unique collaboration merging classical, folk, and rock worlds, exploring common terrain and uncovering new musical landscapes.

Night features new songs written especially for the duo by Brad Mehldau (I Shall Weep at Night) and Patty Griffin (Night), as well as Tift Merritt's own songs (Only in Songs, Still Not Home, Colors, Feel of the World), and classical selections (an arrangement of Schubert's Night and Dreams, Bach's Prelude in B minor). The album also includes the world premiere recording of The Cohen Variations by Daniel Felsenfeld, a solo piano piece commissioned by Dinnerstein based on one of her favorite songs, Leonard Cohen's Suzanne.