An excellent find for fans of ethereal music, while classical listeners will find this disc exceptionally refreshing.

Cristal is an excellent and original recording. This is a disc that is fresh and exciting. Its brilliance comes through from the first piece right through to the last. Cristal, subtitled "Glass Music Through the Ages," is a unique recording that features Linda Ronstadt with glass virtuoso Dennis James. This recording showcases a variety of different moods, but the glass harmonica and the crystal baschet have lush and serenely sweet sounds that bring the pieces to life while also letting them settle in the background. Cristal features a variety of performers, including the Emerson String Quartet and Ruth Ann Swenson. The recording also features original glass music by Mozart, Beethoven, C.P.E. Bach, and Purcell. For fans of ethereal music, particularly space and new age music, this is an excellent find. Fans of classical and more mainstream music will also find this recording to be exceptionally refreshing. Overall, this is a fantastic work and one that belongs in any music lover's collection.

-- Matt Borghi, AllMusic.com

Includes liner notes in Japanese and English.

2020 release. Jonathan Antoine became a global sensation at the age of just 17. Compared to the legendary operatic tenor Luciano Pavarotti after his astounding audition on Britain's Got Talent in 2012, the shy teenager's life changed overnight. Music mogul Simon Cowell proclaimed him a future star. He wasn't wrong. Alongside his singing partner Charlotte Jaconelli, Jonathan came second in the show's grand finale. The duo went on to release two albums, selling an impressive 250,000 copies. With this album, Going The Distance, Jonathan has really found his voice. Eight years after his debut, he's also now free to follow his own vision. Going the Distance realizes a childhood idea to structure an album in three acts, like a musical, which tell the story of overcoming adversity to fulfil your dreams. Featuring new repertoire and working with the Royal Philharmonic Orchestra, Going The Distance is an incredibly personal new album - a recording to cement his position as one of the world's best tenors. And, yes, he's still only 25.

These large-scale performances make some of the movements sound as though they had been written twenty years later by Beethoven. The New York Philharmonic seems to be present in full strength, and many will think Dorati's versions, SDD482-4, 8/76) more in keeping with the period. And yet Haydn was commissioned to write these six symphonies for an unusually large orchestra; there were said to be forty violins available, and even if the writer meant forty string players that's still a large number even by today's standards. I have no doubt that it was with decibels in mind that Haydn planned the rather empty-looking passages near the start and right at the end of No. 86, and why not? Sheer volume can be very exciting, a thought that must have occurred to Beethoven when rounding off his Fifth Symphony.

Thus there are good arguments for Bernstein's approach, especially as the orchestra is so superbly competent. The strings play the quick finales with astonishing precision, and the woodwind (sometimes aided by the balance engineer) come through with unfailing clarity, their phrasing always polished, their staccato notes always slaccalissimo. Tunes on the lower strings are never drowned by the violins as they so often are in live performance, and one's admiration for such a balance is only slightly dimmed by one's awareness than others besides the conductor are giving it their attention (though no one gives much attention to the horns in Nos. 82 and 83).

Symphony No. 82, Bear, sounds the most Beethoven-like of the six, and in spite of its number it may have been written last. I think myself that the pounding accents and almost military exactitude are rather oppressive, but there is certainly excitement here. Bernstein has taken great care over details, and the first movement of No. 85 is mesmerically gripping (and the second surely too fast). Many movements are played with a sensitive expertise to which one cannot fail to respond. But there are some during which I lose sight of Haydn and see only the 'Great Conductor'. In No. 84 he suddenly slows down the tempo for the last six bars of the slow movement, which is the sort of trick conductors used to indulge in before the war but have grown out of since. In No. 86 the slow movement is much slower than usual and too much in the grand style, too much of an interpretation; nearly marvellous but just overdone. And strange things can happen in the trios of the minuets, over which Bernstein takes great trouble, as indeed did Haydn. Those in Nos. 82 and 83 are most delicately managed. But what is one to think of those in Nos. 85 and 86? He plays them slower than the minuets and with the extremes of rubato he would rightly bring to Ländler-type music in a Mahler symphony. It's beautifully done, but it's not Haydn.

I've mentioned the movements in which Bernstein's exaggerations worried me, but I must add that many will like these movements very much indeed; also that elsewhere there is very little exaggeration, just good playing. A resonant acoustic adds to the grandeur of these interpretations which are of their kind first-rate.

-- Gramophone [9/1976]

Times change. Duty endures. As Queen Elizabeth II (Olivia Colman) faces a rapidly changing Britain, her family continues to struggle against the needs of the monarchy and the wants of their fracturing personal lives.

In Dr. Seuss HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL, Max the Dog narrates as the mean and scheming Grinch, whose heart is "two sizes too small," decides to steal Christmas away from the Holiday loving Who's. The World Premiere Recording includes members from the original Broadway cast and features the hit songs "You're a Mean One, Mr. Grinch" and "Welcome Christmas" from the beloved original animated series, plus a bonus recording of "Where Are You Christmas" from the live action Grinch movie. With additional music and lyrics by Mel Marvin and Timothy Mason, Dr. Seuss HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL breathes new life into the timeless story of the true meaning of Christmas.

Producer Jamie Hendry and Sony Masterworks Broadway are pleased to announce the release of the original cast recording of new musical The Wind in the Willows with book by Julian Fellowes, music by George Stiles and lyrics by Anthony Drewe. The cast of the new West End musical headed to the studio earlier this month to record the 20-track album.With music and lyrics by Olivier Award-winners George Stiles and Anthony Drewe, the album features the original West End cast of THE WIND IN THE WILLOWS, accompanied by a fourteen-piece band. The album is produced by George Stiles and Anthony Drewe and co-produced by Simon Lee. Tris Penna is the executive producer.The original London cast is led by actor, comedian and presenter Rufus Hound as the amazing ‘Mr Toad’ with West End stars Simon Lipkin as ‘Rat’ and Craig Mather as ‘Mole’; EastEnders actor Neil McDermott as ‘Chief Weasel’; Coronation Street and Boy Meets Girl star Denise Welch as ‘Mrs Otter’ and West End legend Gary Wilmot as ‘Badger.  Also included are Chris Aukett, Joel Baylis, Jenna Boyd, Abigail Brodie, Abigail Climer, Jorell Coiffic-Kamall, Nicole Deon, Emilie du Leslay, Joshua Gannon, James Gant, Evan James, Michael Larcombe, Bethany Linsdell, Ryan Pidgen, Adam Vaughan, Georgie Westall and Natalie Woods. The cast album also features Dylan Mason, Patrick Sullivan and Karli Vale who recently appeared in the show’s pre-London tour.Based on Kenneth Grahame’s treasured novel which has captivated generations of readers for over a century, THE WIND IN THE WILLOWS has been adapted for the stage with a book by Academy Award-winning screenwriter and Downton Abbey creator Julian Fellowes.This riotous comedy follows the impulsive Mr Toad whose insatiable need for speed lands him in serious trouble. With his beloved home under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Toad must attempt a daring escape leading to a series of misadventures and a heroic battle to recapture Toad Hall. Featuring eye-poppingly beautiful design, exuberant choreography and a gloriously British score, The Wind in the Willows brings an explosion of anarchy, humour and heart to the world-famous London Palladium.TRACKLIST1. Spring2. Messing About In a Boat3. Speed Is Of The Essence4. One Swallow Does Not a Summer Make5. The Open Road6. The Hedgehog's Nightmare7. The Amazing Mr Toad8. The Wild Wooders9. Autumn10. A Friend Is Still a Friend11. Toad's Escape12. As If In A Dream13. We're Taking Over the Hall14. To Be A Woman15. A Place to Come Back To16. The Wassailing Mice17. The Greatest Great Escape18. Hush!19. The Fight20. Finale

PASSENGERS Starring Chris Pratt, Jennifer Lawrence  as star-crossed lovers in space Original Motion Picture Soundtrack Music by multi-awarded composer Thomas Newman ABOUT THE FILMThe Sci-Fi Adventure follows the spaceship “Starship Avalon” in its 120-year voyage to a distant colony planet known as the "Homestead Colony" when malfunctions occur in two of its sleep chambers. Jennifer Lawrence and Chris Pratt are two passengers onboard a spaceship transporting them to a new life on the new planet. The trip takes a deadly turn when their hibernation pods mysteriously wake them 90 years before they reach their destination.As their characters Jim and Aurora try to unravel the mystery behind the malfunction, they begin to fall for each other, unable to deny their intense attraction only to be threatened by the imminent collapse of the ship and the discovery of the truth behind why they woke up. Passengers, from the excellent Norwegian director of The Imitation Game, Morten Tyldum, has the look of a glossy 21st-century update of classic 70s space movies such as Dark Star, Silent Runningand Solaris, all from that era in which sci-fi film-makers loved to riff on the endless boredom of travel between the stars and imagine madness taking root in the cosmos like cholera in dirty water.“You will laugh and cry and hold your breath and be at the edge of your seat. It has chills. It also will make you smile and laugh a lot. We wanted a playful movie. In this day of sequels and reboots I think it’s refreshing that it is a completely original story with two of the best movie stars in the world. I’m very, very happy with the movie.” (Director Morten Tyldum)ABOUT THOMAS NEWMANThomas Newman is an American film score composer and a member of a family who established a film-scoring dynasty in Hollywood.He was born in Los Angeles, California, the youngest son of composer Alfred Newman (1901-1970). Newman has received a total of twelve ©Academy Award nominations. He has won two BAFTAs, six ©Grammys and an Emmy, and has been nominated for three Golden Globes. Newman was honored with the Richard Kirk award at the 2000 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.One of the most interesting things about Newman is his change of styles, beginning with his score for American Beauty, which received critical acclaim. Before this, Newman gravitated more towards the orchestra for his music, like in most other film music. However, in American Beauty his fans witnessed his take on a minimalistic score with an array of odd instruments and a rhythmic style. Since then Newman has alternated and mixed in both his traditional sweeping orchestral scores along with his new, creative style. He is notorious among score listeners for using plenty of instruments the average listener would never have heard of.Among his most recent compositions are James Bond 007: Skyfall (2012), Side Effects (2013), Bridge of Spies (2015), and James Bond 007: Spectre (2015).TRACKLIST1.         The Starship Avalon (Main Title)  2.         Hibernation Pod 16253.         Command Ring4.         Rate 2 Mechanic5.         Awake for 7 Days6.         Crystalline 7.         Precious Metals8.         Aurora9.         Robot Questions10.      The Sleeping Girl                                                     11.      Build a House and Live In It12.      I Tried Not To…13.      Spacewalk                                     14.      Passengers                                                                     15.      50% of Light Speed16.      Cascade Failure17.      Zero-Gravity18.      Never Happy Here19.      Red Giant20.      Looking for Wrong                                                  21.      Chrysler Bldg.22.      Untethered23.      You Brought Me Back24.      Starlit25.      Accidental Happiness26.      Sugarcoat the Galaxy (End Title)

Sony Classical celebrates the artist’s 80th birthday with The Essential Julian Bream. Throughout his long career, the charismatic British guitarist and lutenist’s virtuosic playing has enraptured audiences, inspired composers and won him four Grammy Awards®. This special 2-CD collection reflects the vast variety of music that Bream has championed, ranging from such popular Spanish classics as Rodrigo’s Concierto de Aranjuez and Tarrega’s Recuerdos de la Alhambra, to the Elizabethan gems that Bream himself brought back to life. The Essential Julian Bream includes the artist’s own editions and arrangements of works by Albeniz, Boccherini, Falla, Granados, Handel, Paganini and Vivaldi as well as his famous collaborations with fellow artists, tenor Robert Tear and guitarist John Williams.

 Ámbar, the fifth studio album from Chilean-born talent Camila Meza, showcases the multitalented vocalist, guitarist and composer's ever-evolving artistic sensibility. Accompanied by the Nectar Orchestra, frequent collaborator Noam Wiesenberg, pianist/keyboardist Eden Ladin, drummer/percussionist Keita Ogawa, violinists Tomoko Omura and Fung Chern Hwei, violist Benjamin von Gutzeit and cellist Brian Sanders, Meza reaches new virtuosic and expressive heights as a singer, a stirring guitar soloist, an ambitious songwriter and a producer. Distinguished by it's extraordinarily close attention to sonic detail, Ámbar is Meza's boldest artistic statement to date. Steeped in metaphor, romance and complex emotion, Ámbar is a breakthrough, rooted in the incredible agility and interplay of Meza's state-of-the-art jazz group.

The outlaws made headlines. The lawmen made history. From director John Lee Hancock (The Blind Side), THE HIGHWAYMEN follows the untold true story of the legendary detectives who brought down Bonnie and Clyde. When the full force of the FBI and the latest forensic technology aren't enough to capture the nation's most notorious criminals, two former Texas Rangers (Kevin Costner and Woody Harrelson) must rely on their gut instincts and old school skills to get the job done. Of the soundtrack, composer THOMAS NEWMAN says: "THE HIGHWAYMEN is already steeped in the perfume of the south. The desolate, dry landscapes of Texas and Oklahoma. Ringgold Road in Louisiana where Maney Gault and Frank Hamer finally catch up with Bonnie and Clyde and where everything ends. The music leans towards local flavor on the one hand, and a tense, personal psychology on the other. Foot stomps, knee slaps. Steel-wound and nylon string guitars. Country fiddle. Waltz rhythms, square rhythms. All tumbling towards an inevitable, unsettling conclusion in Depression-era America, 1934."

Sony Music Entertainment is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new box sets contain classic interpretations by some of the most celebrated musicians of the 20th century. No pianist has been more closely associated with the music of Granados than Spain’s beloved Alicia de Larrocha. Praising her in this repertoire, wrote ClassicsToday.com “is tantamount to giving fresh air a good review”. The new release collects her last traversals of this music in the studio, made for RCA in the late 1980s and early 1990s. The most substantial of these haunting works is Granados’ masterpiece Goyescas. In Alicia de Larrocha’s valedictory recording from 1989, “her seasoned mastery of Granados’ complex textures and innate affinity for his colorful idiom assert themselves in every measure. You won’t find a more recommendable Goyescas” (ClassicsToday.com).

GUITAR STORIES

As one of the top 10 highest-grossing film composers of all time, Brian Tyler has an impressive resume that includes The Avengers, Furious 7, Truth, Iron Man 3 and more, and is credited with scoring 3 out of 10 of the highest-grossing films of all time in global box office sales. On his musical contribution to Yellowstone, Brian Tyler says, "It has been incredible working with amazing director Taylor Sheridan on this project. His artistic vision encouraged an unbounded approach to composition. The visual canvas and thematic narrative of Yellowstone inspired me to create music that is intimate, tragic, and impressionistic in ways I have never before thought possible. I worked with so many phenomenal musicians from around the world ranging from the London Philharmonia Orchestra to superb soloists on viola, cello, and fiddle to capture the human soul behind the story. I strove for composing music that would support the complexity of the story and it's characters. The tone of the music needed to reflect melancholy, joy, regret, intensity, revenge, love, tragedy, and beauty all at the same time. The music echoes tones throughout by use of thematic melody that feels it is at the heart of an epic yet intimate saga, while at times creating atmosphere that pushes the boundary of where music and sound converge. Taylor created a magnificent world and music was a central part of his overall vision to give Yellowstone a unique identity. It was a true challenge, and one that I am eternally grateful to be a part of."