Since their debut as a trio in 1986, Cenek Pavl�k, Marek Jerie and Ivan Kl�nsk� have ranked among the finest chamber musicians of their generation. Here, to mark thirty-five years of playing together, the Guarneri Trio Prague immortalise works by Haydn, while celebrating the composer's eternal youthfulness with all the expressive intensity and spirit that we have come to expect of them.

Glamorous Hollywood Gala with Blockbuster Movie Hits. The Danish National Symphony Orchestra rolls out the red carpet for a sparkling Hollywood Gala with a musical fireworks display from Oscar-winning films such as: The Bodyguard � Moulin Rouge � The Umbrellas of Cherbourg � Gladiator � Harriet � A Star Is Born. The successful Blu-ray and CD release now available on vinyl. A riveting and emotional selection of movie hits: from dramas about love and jealousy to the wildest journeys and the world's fastest cars - spiced with murder and gangsters. The evening also features a special section dedicated to music favourites from iconic Oscar-winning movies. The evening's two vocal soloists have taken audiences and the Danish press by storm. Andrea Oehlenschl�ger, only 23, made headlines when she broke out as a musical star in Bodyguard - The Musical in autumn of 2021. In this concert Andrea gives her debut in the concert hall with Whitney Houston's I Will Always Love You. Dilukshan Jeyaratnam, has received a Reumert Talent Award for his performance in the musical "The Prince of Egypt" and has most recently starred in musicals such as American Idiot, Urinetown, and The Hunchback of Notre-Dame.

A must-have for all sci-fi fans, this double vinyl includes the best tracks of Galaxymphony I & II, a symphonic space journey. Travel the universe with the best tracks from Apollo 13, Avatar, Blade Runner, Gravity, Interstellar, Star Trek, Star Wars, The Hitchhiker's Guide to the Galaxy and The Mandalorian.

A touching evening (BR Classic) A centuries-old tradition. The ghost light is a single lamp that illuminates the stage when the theatre is not in use. Legend has it that the light shines to protect the actors, patrons and the theater from misfortune and ghosts. The Ghost Light shows the solitude that continues to shine on stage while waiting for the audience to return after this unusual season. The Hamburg Ballet was one of the first international companies to return to their studios after the lockdown, with the premiere of John Neumeier's choreography Ghost Light with solo piano music by Franz Schubert, performed live on stage by star pianist David Fray. John Neumeier's new ballet explores the possibilities of dancing among the limitations of the * pandemic. It is developed in fragments with more or less fleeting impressions from the everyday life of dancers. Ghost Light is an ensemble ballet that I develop in fragments. It is comparable to individual instrumental parts of a symphony... How the individual parts ultimately combine to form a work will depend on the moment when we are allowed to come close again on stage. (John Neumeier) Internationally recognized and awarded for his ballet choreography, John Neumeier has been the ballet director and chief choreographer of the Hamburg Ballet since 1973, and since 1996. Ballet Director at the Hamburg State Opera and guest choreographer at other venues. He is also director of the ballet school he founded in Hamburg. Choreography, Stage, Lighting and Costums: John Neumeier Costumes from Lady of the Camellias and The Nutcracker: Jrgen Rose Music by Franz Schubert David Fray piano

She is a piano legend, he has collaborated as a soloist with all leading conductors and orchestras around the world. Now Martha Argerich and Guy Braunstein come to the Pierre Boulez Saal with their first-ever duo program-an artistic encounter that promises to be an extraordinary musical experience.

Witness a concert experience of magical dimensions, when the Danish National Symphony Orchestra opens the door to a wealth of fantasy universes where dragons and dwarfs, trumpet players and violinists cross blades and sounds in a world of flames and sorcery. The epic battle of good against evil will unfold, when The Danish National Symphony Orchestra supported by troops of choirs and soloists, perform the greatest compositions from the most legendary fantasy films, television series and computer games. Look forward to an ultimate magic concert experience: One concert to rule them all! With music from Highlander, Harry Potter, Pan's Labyrinth, Narnia, Willow, World of Warcraft, The Shannara Chronicles, Game of Thrones, The Hobbit, The Lord of the Rings

Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an �lite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble. This 4 Blu-ray Disc Box set is including the Mahler Symphonies Nos. 1-7 with the Lucerne Festival Orchestra and Claudio Abbado. An afficionado must-have! "Has there ever been a suaver, more transparent Mahler performance or one in which everything stays so beautifully in tune?... Abbado's music-making is a celebration of the purest joy." The Gramophone Magazine

When we think of the quintessential Western movie, what music do we imagine hearing as the heroes face off in the sun and sand? Even those of us who have never seen a Western will certainly conjure up the music of the legendary Ennio Morricone. Perhaps chiefly known for his scores of Sergio Leone's Spaghetti Westerns-notably The Good, the Bad, and the Ugly and Once Upon a Time in the West-Morricone also provided the music for comedies like La Cage aux Folles, dramas like Cinema Paradiso, and action films like Quentin Tarantino's The Hateful Eight, for which Morricone won his first competitive Oscar in 2016 at the age of 87. His influence on contemporaries and successors is immeasurable, ranging from cinema and classical to pop, rock, and world music. Few silver screen composers have made so indelible a mark; his work is powerful enough to make good films great and great films greater. In this 2005 concert from Munich, Morricone conducts his own works, many even more iconic than the films they soundtracked.

When we think of the quintessential Western movie, what music do we imagine hearing as the heroes face off in the sun and sand? Even those of us who have never seen a Western will certainly conjure up the music of the legendary Ennio Morricone. Perhaps chiefly known for his scores of Sergio Leone's Spaghetti Westerns-notably The Good, the Bad, and the Ugly and Once Upon a Time in the West-Morricone also provided the music for comedies like La Cage aux Folles, dramas like Cinema Paradiso, and action films like Quentin Tarantino's The Hateful Eight, for which Morricone won his first competitive Oscar in 2016 at the age of 87. His influence on contemporaries and successors is immeasurable, ranging from cinema and classical to pop, rock, and world music. Few silver screen composers have made so indelible a mark; his work is powerful enough to make good films great and great films greater. In this 2005 concert from Munich, Morricone conducts his own works, many even more iconic than the films they soundtracked.

Experience the popular melodies from "Swan Lake" and "Carmen" recorded by the world-class Rachmaninoff International Orchestra (RIO) under the baton of Mikhail Pletnev. In August 2022, the musicians of the Rachmaninoff International Orchestra gathered in Bratislava to perform their first recording under the direction of founder and artistic director Mikhail Pletnev. You can rediscover Swan Lake in an acclaimed arrangement by Mikhail Pletnev, while Rodion Shchedrin's arrangement of the Carmen Suite based on Bizet's masterpiece is legendary. The Swan Lake Suite is not the usual 6-part suite, but a different and more elaborate arrangement, which Pletnev himself has arranged to a hand-picked selection of Tchaikovsky's ballet music. With a superb RIO, he transforms Swan Lake into a captivating cocktail of color and atmosphere, beautifully poetic and full of fairytale magic, with Tchaikovsky's signature blend of theatrical drama and aristocratic elegance always in perfect balance.

Vladimir Jurowski conducts the London Philharmonic Orchestra in this live 2010 concert performance including the Symphony's original second movement 'Blumine'. 'Jurowski made the first movement magnificent, generating a tremendous dramatic radiance.' Paul Driver, the Times, 12 Dec 2010. 'This poised and delicate account showed Blumine's freshness and charm as part of an overall reading with an absolute identification with the material, demonstrating Jurowski's flair for Mahler.' George Hall, the Guardian, 6 Dec 2010.

Directed by Gary Halvorson, David Kennard, Joan Saffa.

A new-world virtuoso with old-world musicianship: the complete Decca recordings of JOSHUA BELL, capturing the first decade of the violinist's career on record. Decca signed the nineteen-year-old Joshua Bell in 1986 on the basis of privately made concerto tapes. Bell had first picked up a violin at the age of four, but he had been taking the instrument seriously for less than a decade. His musicianship and technical aptitude were nurtured and coached by Josef Gingold, a pupil of Eugène Ysaÿe. He made astonishingly rapid progress. Within months of signing for Decca, he had already made his first three albums, of concertos by Bruch, Mendelssohn, Tchaikovsky and Wieniawski, and recital encores. Unfashionably, Bell felt especially drawn to the Wieniawski, which reveals his affinity for older school of violin playing embodied by Gingold, Heifetz - and Fritz Kreisler, the central figure on a hugely successful 1995 recital album. But by then, Bell was already demonstrating the breadth of his musicianship, and striking up partnerships with the pianists Jean-Yves Thibaudet and Olli Mustonen, and the cellist Steven Isserlis. These partnerships would last for decades to come, and yield deeply rewarding albums of French repertoire for Decca, including Chausson's Concert and Messiaen's Quatuor pour la fin du temps. Bell is now music director of the Academy of St Martin in the Fields, who accompanied him back in 1988 for that Bruch/Mendelssohn coupling. In a sense, therefore, this new Eloquence box brings us full circle to an appreciation of a violinist who has always taken his talent seriously. He went on to record concertos by Brahms, Schumann, Saint-Saëns, Barber and Walton, and his playing inspired the American composer Aaron Jay Kernis to write a concertante Air which he recorded for Argo. Previously only issued in the US, this Kernis album now joins the violinist's Decca discography in this new Eloquence box, which is compiled with original album covers and annotated with a new appreciation of the violinist by Tully Potter.

LIMITED EDITION. A unique collection of L'Oiseau-Lyre, Argo, Decca and Philips albums in original covers, showcasing both the genius of Handel and the musicianship of the classic ASMF/Marriner pairing at it's most stylish. Even while a member of the London Symphony Orchestra in the early 1950s, Neville Marriner had made recordings for L'Oiseau-Lyre as a violinist in the Jacobean Ensemble. Accordingly, he took a tape of a concerto grosso to the label's legendary owner, Louise Hanson-Dyer. The artists on it were his new ensemble, the Academy of St. Martin in the Fields. This modest demonstration tape ultimately led to more than 500 recordings, and the success of the Academy with Marriner as the world's most recorded partnership. Handel was an integral part of the Academy's work firstly for L'Oiseau-Lyre, then for Argo, finally for the Dutch label Philips. (Marriner and the Academy also recorded music by Handel for EMI.) Without including later duplicate versions, this box compiles for the first time all the ASMF/Marriner albums made for the Decca family of labels as well as Philips between 1961 and 1997, amounting to a comprehensive survey of the composer's orchestral music, ornamented with Acis and Galatea, Messiah, Jephtha and the Coronation Anthems. Critics from the outset praised not just the energy of the Academy and Marriner in Handel's Concerti grossi, but also their Polish, at a time when period-instrument versions were technically unreliable. Soloists such as the oboist Roger Lord emerged naturally from an ensemble of soloists in the first place. A succession of keyboard players pays testament to the determination of Marriner to find a degree of authenticity in 18th-century music that worked practically for him and his colleagues. First of all his friend Thurston Dart, who researched the sources for much of the music played here, and the mercurial choir director and harpsichordist George Malcolm. In a later generation came Andrew Davis and Christopher Hogwood, the organist on the Argo Messiah which was recorded using his edition. All the vocal works are cast from strength, including Elly Ameling and Philip Langridge in Messiah, Jill Gomez and Robert Tear in Acis and Galatea, and Anthony Rolfe Johnson and Emma Kirkby in Jephtha. Tear is also heard in a lesser-known 1969 album of German and English arias. From 1997, Dmitri Hvorostovsky is heard in Handel excerpts from his 'Arie antiche' album, testifying to the durability of a marriage between ensemble, conductor and composer which survived tumultuous artistic change. Further highlights include the classic Fireworks/Water Music pairing from 1971, ballet music from Ariodante and Alcina (also Argo), the Concerti a due cori from 1979 and the digital-era Philips album of Coronation Anthems, as well as a curiosity: two choruses from Messiah recorded in the studio as a promotional item for the forthcoming recording on Philips of the complete oratorio from Dublin. Handel was their home territory, as Peter Quantrill illustrates in a booklet essay discussing the history of the Academy and Marriner with Handel's music. Philip Stuart, author of Marriner and the Academy: A Record Partnership, contributes a 'sessionography'.

The Hollywood Bowl Orchestra breathed new life into the orchestral pops repertoire, told new stories and brought in new audiences when it was revived under the conductor John Mauceri in the 1990s. At the centrepiece of this collection are all of the original HBO albums released by Philips from 1991-1996. From Gershwin to Ligeti, The Firebird to Edward Scissorhands, The Hollywood Bowl Orchestra breathed new life into the orchestral 'pops' repertoire, told new stories and brought in new audiences when it was revived under the conductor John Mauceri in 1990. From the start, they played to capacity audiences at the Hollywood Bowl, where the Los Angeles Philharmonic had been giving concerts since 1922. Now reformed as a separate ensemble - 'the world's greatest pick-up band', auditioned by Mauceri and his colleagues from freelancers across the West Coast - the new Hollywood Bowl Orchestra played a huge repertoire of classical, contemporary, film and Broadway, and recorded the highlights for Philips. The mastermind behind their artistic success and uniquely diverse repertoire was Mauceri, a prot�g� of Leonard Bernstein, who had long worked with equal success in opera, the symphony and musical theatre. Mauceri made the connections that link Holst and Ravel to John Williams and Hans Zimmer, the Korngold and Schoenberg of Vienna to their later identities in California. He showed in sound as well as word how 'Golden Age' Hollywood film scores developed from the world of European late-Romanticism and modernism. Mauceri and his colleagues dug deep into studio libraries to unearth the best, the most original and complete scores available for pieces such as The King and I and familiar 'standards' often heard in much later orchestrations. They worked with great singers from all backgrounds, including (featured in this set) Julia Andrews, Patti LuPone and Sylvia McNair. Each individual HBO album was curated by Mauceri to tell a familiar story - love scenes, nightmares, waltzes, the space age, the passing of a day - from an unexpected angle. The box also includes Mauceri's Decca albums of My Fair Lady, starring Kiri Te Kanawa and Jeremy Irons, and 'Schoenberg in Hollywood' (part of the label's Entartete Musik series). A booklet essay by Peter Quantrill traces the genesis of the revived Hollywood Bowl Orchestra through Mauceri's reflections. Costa Pilavachi, who masterminded many of these recordings for Philips offers his own personal insights. Whichever side of the musical tracks you're from, 'The Sound of Hollywood' will take you on new journeys, to unfamiliar destinations.

The most comprehensive collection ever issued of the recorded art of Herman Krebbers (1923-2018) featuring the great Dutch violinist as concerto soloist, chamber musician and concert master and issued to mark the centenary of his birth. An original jackets collection of a much-loved musician, with an introduction by Bernard Haitink, written shortly before his death. For many years, the concerto recordings made by Herman Krebbers were staples of the Philips LP catalogue. The critical praise and popularity awarded to them was all the more remarkable in view of the fact that Krebbers never pursued the path of an international soloist. Instead, he put his family first and chose the vocation of as an orchestral concertmaster, firstly with the Hague Philharmonic under Willem van Otterloo. With them he made his first recordings in the early 1950s, of Bach and Beethoven and Vieuxtemps. Around this time, Philips also recorded Krebbers in duo-violin repertoire with his fellow student and lifelong friend Theo Olof. The albums of Bart�k Duos and the Double Concertos by Bach and Henk Badings are among several recordings in the collection receiving their first international appearance on CD in this collection, which also includes recordings of the Bruch and Dvor�k concertos made in 1973, on the occasion of Krebbers's 40th anniversary as a soloist. In 1962 Krebbers became leader of the Concertgebouw Orchestra under Bernard Haitink, and went on to make celebrated second recordings of the Beethoven and Brahms concertos, as well as the taxing peaks of the 'concertmaster' repertoire, Rimsky-Korsakov's Scheherazade and Richard Strauss's Ein Heldenleben. The box also includes the Benedictus from Beethoven's Missa solemnis, with it's long and sublime solo-violin part, in two Concertgebouw recordings made in the 70s with Eugen Jochum and Leonard Bernstein, as well as 'Erbarme dich' from Bach's Matth�us-Passion also with Jochum. Krebbers brought to these parts a soloistic finesse and temperament which was central to the success of the interpretations as a whole. Krebbers's parallel career as a chamber musician is represented by a Philips collection of Mozart, including the Oboe Quartet with Heinz Holliger. Further rarities in the set include a second, Swiss-made Bach 'Double' Concerto with Arthur Grumiaux, and a Dutch radio recording of Brahms's Double Concerto with the Concertgebouw's longstanding principal cellist, Tibor de Machula. More than 40 years on from Krebbers's premature retirement after a boating accident, the aristocratic poise and golden warmth of tone to his playing retains it's appeal. This comprehensive tribute features a survey of the violinist's career, and valuable behind-the-scenes insights into many of these recordings, by the Dutch writer Niek Nelissen.

Limited Edition � Original Jackets Collection. A tour de force of thrilling orchestral playing and brilliant audio engineering, Antal Dor�ti's mono recordings are collected for the first time. Newly remastered, this collection comprehensively documents a golden era in American classical recording and most of these vividly characterized recordings appear on CD for the first time. The Hungarian conductor Antal Dor�ti joined the Minneapolis Symphony Orchestra as it's music director in 1949, and immediately began making it into one of the orchestral powerhouses of the post-war United States. Mercury began recording the ensemble in 1952 and continued to do so until his departure in 1960. Dor�ti's 51 albums (24 mono, 27 stereo) are a testament to what he achieved with the orchestra during his eleven years there. They reveal a musical personality centered on dynamism, intensity, and an exceptional ability to persuasively articulate rhythms. Eloquence presents the most complete ever reissue of the Dor�ti/Minneapolis legacy in two 'original jackets' boxes, faithfully representing the contents of the albums as they were first issued. New remastering made or supervised by Thomas Fine, son of Mercury's long-time chief engineer and producer, as well as original remastering for CD by Wilma Cozart Fine, bring this legacy to life as never before. Thomas Fine contributes a 'sessionography' to each box detailing the technical facets of the Mercury Living Presence recordings, and Dennis D. Rooney is the author of authoritative booklet notes surveying the history of the partnership on record as well as his personal memoirs of the period. The mono box begins with a blistering Firebird Suite of Stravinsky and ends with a contemporary Hungarian pairing of unrivalled idiomatic flair, brilliance (Kod�ly's Peacock Variations) and lurid, controlled violence (Bart�k's Miraculous Mandarin). Further highlights include the three Tchaikovsky ballets, in versions that quickly became gramophone classics and 'library choices' and stayed that way for decades. Particularly noteworthy is the first CD release of Nutcracker and Sleeping Beauty recordings requested time and again for reissue. Dor�ti's feeling for dance is further underlined by more landmark Ballets Russes scores - Sacre, Petrouchka, Daphnis - and Viennese waltzes. The legendary 1812 Overture recording is reissued with the original 'Making Of' commentary by Deems Taylor. Taylor also narrates versions of Britten's Young Person's Guide and the Nutcracker Suite. Even rarer are the three musical stories originally released on Mercury's subsidiary 'Wing' label and narrated affectionately by Jerry Terheyden. 'Sonic spectacular' scores by Rimsky-Korsakov, Respighi and Richard Strauss leap from the speakers in Mercury's Living Presence sound, remarkably vivid even in mono. Dor�ti's firm sense of rhythm and form gives strong contours to symphonies from Mozart to Copland. The last two albums on the set are devoted to the two LPs Dor�ti recorded with the Chicago Symphony Orchestra. As sequels to the Eloquence boxes dedicated to Kubel�k in Chicago and Paray in Detroit, these Dor�ti collections comprehensively document a golden era in American classical recording.

The two stereo Beethoven cycles, those of the Symphonies (1965-70) and the Piano Concertos (with Wilhelm Backhaus, 1958-59), form the core of this edition of the complete Decca recordings of Hans Schmidt-Isserstedt (1900-1973). It is distinguished by the Wiener Philharmoniker's unique transparency of sound allied to a firm pulse and rhythmic drive which characterized Schmidt-Isserstedt's conducting. Several of the recordings were produced by Erik Smith, the conductor's son. Though it appears that he never stood in front of the Vienna Philharmonic in a concert, Hans Schmidt-Isserstedt achieved a remarkable rapport with a famously headstrong group of musicians when he conducted them in two stereo Beethoven cycles for Decca. In 1958-59 they recorded the piano concertos with Wilhelm Backhaus, as a stereo remake for the pianist's mono Decca cycle with the Vienna Philharmonic and Clemens Krauss. Backhaus was in his late 70s by then, conveying a lifetime's wisdom through his fingers while playing with apparently undimmed vitality. The Decca producer for the concertos was the conductor's son, Erik Smith, and a familial sense of mutual respect and understanding may be one reason for the success of the symphony cycle made between 1965 and 1970. Schmidt-Isserstedt harnesses the unique transparency of the Vienna Philharmonic sound with the firm pulse and rhythmic drive which had always distinguished his conducting. The set has rarely left the catalogue since it was issued, because it's virtues have never gone out of fashion. Schmidt-Isserstedt's first recordings for Decca were made in the early 1950s, as founder-conductor of Hamburg Radio Symphony Orchestra, now known as the NDR Elbphilharmonie Orchestra. The ensemble began life after the war as a cultural project nurtured and supported by the British, and under Schmidt-Isserstedt's dedicated coaching it quickly became one of the most admired orchestras Europe. Their recordings of Dvor�k's Seventh and Tchaikovsky's Fifth symphonies were made in state-of-the-art Decca mono sound, produced by John Culshaw. As the reputation of the NDR orchestra spread internationally during the 1960s, so did that of it's conductor, who became a welcome and familiar presence in front of the London orchestras. He exerts gentle and sovereign authority over the London Symphony Orchestra on a 1967 album of Mozart concertos in partnership with Vladimir Ashkenazy. This Eloquence set is issued with original covers and a new essay by Peter Quantrill on Hans Schmidt-Isserstedt and his Decca legacy.

A tribute to the late Ida Haendel, comprising her complete Decca Recordings (1940-1997), newly remastered, as well as her performances at the 1982 Huberman Festival. Lavishly illustrated, Original Jackets, Limited Edition. On her death in July 2020, obituaries worldwide paid glowing tributes to the effervescence of the violinist Ida Haendel, in both her playing and her person. Both with and without her bow, she captivated listeners and fellow musicians such as the cellist Steven Isserlis: 'She spoke through her violin, proved herself through it, lived within the music she made. She was a marvel, an icon; each note she played was the result of total conviction - and as a consequence was totally convincing. She had been groomed from the beginning to be a star - and a star she was.' It is those prodigious early years that enjoy belated attention in this new box of Haendel's collected Decca recordings. Her first recordings date from 1940, when Haendel, in her early teens, was accompanied by a fellow Polish �migr� Adele Kotowska in showpieces and encores. Her reputation in the UK had been secured by accomplished debuts at Wigmore Hall and the Queen's Hall Proms. Decca confidently invested in her promise, and were rewarded with albums that were consistently acclaimed for the violinist's warmth and depth of tone and virtuoso temperament, but also liveliness of musical response to a wide variety of repertoire, from a Schubert sonatina to violinistic fireworks by Kreisler and Sarasate. Haendel was soon paired with an equally brilliant young pianist, Noel Mewton-Wood, for a spry reading of Beethoven's Eighth Sonata, and then with Ivor Newton for more demanding modern repertoire such as Stravinsky's Divertimento and Bart�k's Romanian Folk Dances. Her recording career continued to flourish after the war with several well-received concerto discs of Mendelssohn, Tchaikovsky, Saint-Sa�ns and Dvor�k: all made for 78s and long unavailable until the new remasterings by Mark Obert-Thorn in the present collection. However, despite the excellent reviews, Haendel's father elected to sign a contract with EMI and she ceased recording for Decca in September 1947. Haendel's return to the label had to wait almost 40 years, but a 1996 recital with Vladimir Ashkenazy of modern classics from eastern Europe - Szymanowski, Bart�k and Enescu - had critics and listeners alike marveling at her longevity and undimmed technical command. As well as a live account of the Sibelius Concerto from Israel in 1982 and a spoken memoir from the producer Evans Mirageas, this tribute is significantly enhanced by a previously unpublished late recording: Vaughan Williams's The Lark Ascending, from 1997, with the London Philharmonic and Sir Roger Norrington, originally intended for release within a Vaughan Williams symphony cycle. A work new to Haendel's relatively slender discography, this will attract the attention of violin-lovers everywhere.

With technique to burn but poetry at the fore, Jean-Yves Thibaudets recordings of the two Liszt concertos have always held a special affection in many a music-lovers heart. They are reissued as per the original CD couplings - with the demonic Tot.

Orange Mountain Music is proud to announce the release of the iconic 1979 work DANCE by choreographer Lucinda Childs, composer Philip Glass, and film by Sol LeWitt. "See the music, hear the dance." Never was the great George Balanchine's exhortation more fully realized than in DANCE. DANCE, American dancer and choreographer Lucinda Childs's first major show, is set to an especially commissioned score by Philip Glass, and framed by a video by the visual artist Sol LeWitt. Three exponents of Minimalism in their respective fields come together to create something that was once justly described as "close to stage heaven." A work of uncompromising purity, it's choreography meticulously follows every subtle nuance and shifting pattern of Philip Glass's score, so that you can see the music in the bodies of the 12-white clad dancers, the audiences two senses, sight and hearing, completely fused. LeWitt shot a film of the dance, and then cut, layered and floated it onto a scrim over the live performance. The dancers in Sol LeWitt's film, featuring Lucinda Childs herself, appear to flit through the live dancers. The result is one of the most popular ballets of the 20th century. Filmed in Paris in 2014 by the director Marie-Helene Rebois, produced by Daphnie Productions with the participation of France Televisions, the performance was produced by Pomegranate Arts.

From the mid-seventeenth century to the first two decades of the eighteenth century, Rome experienced one of the most brilliant musical periods in it's history. In this recording, the Ensemble Jacques Moderne performs works composed for a Vespers service, one of the principal moments of the Liturgy of the Hours, which consisted of a sequence of psalms and antiphons concluding with a Magnificat.

Between 1876 and 1878, two masterpieces were created in the midst of a wave of nationalism sweeping Europe. Distressed by tragic events, Grieg and Smetana turned to the string quartet, a form hitherto rare in their output, as a means of expressing their turbulent emotions. Through the communion of sixteen strings, the composers retrace the story of their lives, producing two quartets with an infinitely personal dimension and unprecedented emotional power.

Four years after the superb 'Membra Jesu Nostri', the Ricercar Consort once again turns to Buxtehude. The majority of the cantatas in this recording are centred on Christ's Passion and Resurrection. With the both dramatic and comforting sounds of his cantatas, Buxtehude succeeded in shifting the focus from human suffering to divine help, thus giving people a foretaste of heavenly harmony and perfection.

Inspired by the great Romantic works of the piano trio repertoire, Trio Nebelmeer - named after the emblematic painting by Caspar David Friedrich - embark on a joint exploration of a turmoiled romanticism. Composed ten years apart by two composers with a 20 year age difference, the trios for piano, violin and cello featuring in this album epitomize the quintessence of French Romantic music of the late 19th century.