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Tchaikovsky: The Classic Ballets / Royal Ballet

Opus Arte

Blu-Ray

$52.99 Sep 24, 2013

Also available on standard DVD

Note: These Blu-ray Discs are playable only on Blu-ray Disc players, and not compatible with standard DVD players.

Pyotr Il’yich Tchaikovsky
CLASSIC BALLETS
(3-DVD Box Set)

Swan Lake

Odette / Odille – Marianela Nuñez
Prince Siegfried – Thiago Soares
The Princess, Siegfried’s mother – Elizabeth McGorian
An Evil Spirit / Von Rothbart – Christopher Saunders
The Tutor – Alastair Marriott
Benno – David Pickering

Royal Ballet
Royal Opera House Orchestra
Valeriy Ovsyanikov, conductor

Anthony Dowell, stage director
Marius Petipa and Lev Ivanov, choreographers

Recorded at the Royal Opera House, Covent Garden, London, on 16 and 24 March 2009

Bonus:
- Illustrated synopsis
- Cast gallery
- Interview with Anthony Dowell
- Four Swan Queens - Exclusive 30-minute conversation on the demands of dancing the role of the Swan Queen with former Prima Ballerinas
- Dame Beryl Grey, Dame Monica Mason, Lesley Collier and current principal Marianela Nuñez

The Nutcracker

The Sugar Plum Fairy – Miyako Yoshida
Nephew / Nutcracker – Ricardo Cervera / Steven McRae
The Prince – Steven McRae
Drosselmeyer – Gary Avis

Royal Ballet
Royal Opera House Orchestra
Koen Kessels, conductor

Peter Wright, choreographer and director (after Lev Ivanov)

Recorded live at the Royal Opera House, Covent Garden, London, November and December 2009

Bonus:
- Cast gallery
- Rehearsing at White Lodge
- Peter Wright tells the story of The Nutcracker

The Sleeping Beauty

Princess Aurora – Alina Cojocaru
Prince Florimund – Federico Bonelli
King Florestan XXIV – Christopher Saunders
His Queen – Elizabeth McGorian
Cattalabutte – Alastair Marriott
Carabosse – Genesia Rosato
Lilac Fairy – Marianela Nuñez

Royal Ballet
Royal Opera House Orchestra
Valeriy Ovsyanikov, conductor

Marius Petipa, choreographer

Recorded live at the Royal Opera House, Covent Garden, London on 5 December 2006

Bonus:
- Cast gallery
- Illustrated synopsis

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Picture format: 1080i High Definition Sound format: LPCM 2.0 / DTS 5.1 Region code: 0 (worldwide) Subtitles (bonus): French, German, Spanish (Nutcracker) + Italian (Swan Lake, Sleeping Beauty) Running time: 7 hours 37 mins No. of Discs: 3 (Blu-ray)

R E V I E W S:

This generally acclaimed Royal Ballet production of Swan Lake follows on the heels of the somewhat disappointing Blu-ray Mariinsky performance starring Ulyana Lopatkina (Odette/Odile) and conducted by Valery Gergiev (Fanfare 32:5). Both versions are based on the choreography of Marius Petipa and Lev Ivanov, with additional choreography for the Royal Ballet production by the esteemed Frederick Ashton. Any Swan Lake revolves around the central roles of Odette/Odile. In the case of Marianela Nuñez versus Lopatkina, one is not necessarily better than the other. Rather, they are very different. Nuñez is all about elegance, grace, and smooth, legato flow. She exhibits a persistent and rather resigned sadness and vulnerability in the white swan act. It is critical that there is ample contrast as Odile. In the ballroom scene, Nuñez is far more animated, saucy, and seductive. She cannot match Lopatkina’s flawless, almost surgically precise technique, but Lopatkina is cold, sterile, and certainly not very vulnerable as Odette. Nuñez radiates humanity in her finely nuanced but somewhat subdued acting. Thiago Soares (Siegfried) clearly has developed admirable rapport with Nuñez (apparently offstage as well as onstage). He is far preferable to the terminally bland Danila Korsuntsev in the Mariinsky Swan Lake. Conductor Valeriy Ovsyanikov, as in his Royal Ballet Sleeping Beauty, applies generally fast tempos, with an emphasis on clarity of instrumental lines. Compared to Antal Dorati in his legendary Mercury recording, Ovsyanikov can be equated with an overdose of valium. This beautifully staged Swan Lake is just too sedate. The whole thing gives the impression of a subdued and reverential allegiance to tradition. The sumptuous sets evoking Imperial Russia (presumably in the time of Tchaikovsky) and colorful costumes are gorgeous. The high-resolution sound features excellent mid-range detail, sparkling high frequencies, and warm bass. Extras include a short interview with Anthony Dowell discussing Swan Lake and this production, and a more lengthy presentation entitled “Four Swan Queens.” The comments of the four ladies are pretty superficial, with a few interesting anecdotes. The young Nuñez appears to be intimidated or deferential to the three older prima ballerinas to the point where she has little to say.

This production offers nothing that is new or remotely controversial. Viewers will have to choose between Lopatkina’s technical perfection and the lyrical grace of the far more likable Nuñez (who, by the way, is no slouch from a purely technical standpoint). Neither Ovsyanikov nor Gergiev are particularly memorable when compared to the electricity generated by Dorati. If I had to choose, I would probably go with the Royal Ballet, primarily because of Nuñez and her obvious rapport with Soares.

-- Arthur Lintgen, Fanfare [3-4/2010] reviewing blu-ray version of Swan Lake

The Royal Ballet’s new production of The Sleeping Beauty , which debuted in 2006, is based on their successful 1946 staging with designs by Oliver Messel. Visually, this is a significant improvement over the RB’s 1994 Sleeping Beauty designed by Maria Bjørnson. The sets used in 1994 had an immediate “Wow!” factor when first viewed (wild perspectives), but quickly wore out their welcome and so dominated the stage they detracted from the dancers. Adding to the visual impairment were many costumes that matched the scenery in color and tone, further reducing the prominence of the dancers. The new sets are beautiful. They’re very old-fashioned wing and drop; painted in warm colors that are nicely subdued so they offer a pleasant backdrop and the dancers stand out.

Marius Petipa is credited with the choreography in both productions, but contributions from Frederick Ashton, Anthony Dowell, and Christopher Wheeldon are noted. Further credit for this 2006 production is also given to Monica Mason and Christopher Newton “after Ninette de Valois and Nicholas Sergeyev.” Sergeyev was Petipa’s assistant. The original designs by Oliver Messel are augmented and interpreted by Peter Farmer. The result of their efforts is a very classy Sleeping Beauty that is a joy to watch.

The dancing in both 1994 and 2006 productions is of a very high order. Of the six principal roles (Aurora, Florimund, Carabosse, Lilac Fairy, Florine, and Blue Bird), there are individual differences between the two casts, and one significant casting difference. In 2006, Carabosse is played by a woman, Genesia Rosato, in a role usually performed by a man. Anthony Dowell’s Carabosse in 1994 is something to behold. Looking like he just rose from the swamp, he dominates the stage whenever he appears. In comparison, Rosato in 2006 is more restrained, offering a character reminiscent of a blend between Mrs. Danvers and Elsa Lancaster in Bride of Frankenstein.

Alina Cojocaru and Federico Bonelli are nicely paired as Aurora and Florimund. Neither is as flashy as their 1994 counterparts, but they combine technical expertise with convincing acting. They look like royalty from Fairy Land, and like they care about each other. In the 1994 cast, Viviana Durante and Zoltan Solymosi, were significantly mismatched in height (I’ve read Durante was a last minute stand-in for a taller dancer), and they were only superficially into their characters, but they still offered impressive performances. Durante is tiny and elflike; being on point seemed natural to her. During the Rose Adagio she so successfully achieved her balance she refused the fourth courtier’s hand. Solymosi doesn’t have quite the technical expertise of Federico Bonelli, but Solymosi, one of the tallest dancers on the stage, has stage presence in abundance. He commands attention even when standing still.

Conductor Valeriy Ovsyanikov pulls all the Romantic stops out of Tchaikovsky’s unabashedly flamboyant score, in contrast to Barry Wordsworth’s more elegant approach. Carabosse’s curse, the Rose Adagio, the finale, and Apothéose benefitted from Ovsyanikov’s muscular conducting, whereas the waltzes, the Panorama, the character dances, and the adagio in the act III Pas de deux were more lovingly handled by Wordsworth.

The 1994 Sleeping Beauty is full screen; the 2006 is wide screen. Ross MacGibbon, the video director in 2006 was listed as editor in 1994. His part in both of these videos is restrained and rarely intrudes on the dancing. There are some shots of bouncing torsos (dancers viewed from the waist up) when I would have preferred to see the entire performer, but MacGibbon’s direction in this Sleeping Beauty is how I wish more of these videos of stage performances were filmed, a vast improvement over his direction of the Mariinsky Swan Lake (see Fanfare 31:5).

There are some cuts to the score (a few numbers are deleted, a few are shortened), but the abridgements are slight and the key dances, such as the Rose Adagio, are presented in full. The image is bright and clear; the sound, available in either LPCM stereo or DTS Digital surround is excellent. The Sleeping Beauty has long been one of the Royal Ballet’s premier productions; this 1946 updated to 2006 version does the company proud.

-- David L. Kirk, Fanfare
reviewing Sleeping Beauty

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Tchaikovsky: The Classic Ballets / Royal Ballet
Opus Arte Sep 2013
Blu-Ray
$52.99

C.P.E. Bach: Piano Concertos, Wq. 7, Wq. 37 & Wq. 42

Haenssler Classic

$20.99 Mar 13, 2026

For fifteen exciting years the manuscripts of Carl Philipp Emanuel Bach's keyboard concertos have held me in their thrall. Both delightful and challenging at the same time, a hitherto unpublished and therefore completely unknown world revealed it's hidden beauties. With an eighth CD, my series comprising around half of all the available keyboard concertos now comes to an end. This musical form - according to Emanuel Bach himself his 'most personal' - occupied the composer repeatedly throughout his lifetime. From the astonishingly self-confident concerto Wq1 by a 19-year-old to the cheerfully ironic Wq47 from the year of his death, a long and very fruitful career is illustrated by the search for distinctive new means of expression. As later with the symphonies composed in Hamburg, Emanuel Bach here also took 'all the liberties he needed'. We find bold innovation as well as exuberant kinetic joy, exquisite chromaticism and demanding virtuosity alongside profound contemplation. Michael Rische

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C.P.E. Bach: Piano Concertos, Wq. 7, Wq. 37 & Wq. 42
Haenssler Classic Mar 2026
CD
$20.99

Mix & Match

Cyprien Katsaris Archives, Vol. 8: Schubert

Piano 21

$32.99 Jul 19, 2011

LISZT Hungarian Rhapsodies: Nos. 2, 3, 5, 7. Elegies: Nos. 1, 2. Liebestraum No. 3. Klavierstücke: Nos. 1, 2, 3, 4, 5. Trauervorspiel und Trauermarsch. Unstern! Nuages gris. La Lugubre gondola Nos. 1, 2. R.W.—Venezia. Am Grabe Richard Wagners. Piano Sonata in b. Piano Concerto No. 2 1 • Cyprien Katsaris (pn); 1 Arild Remmereit (cond); 1 Deutches SO Berlin • PIANO 21 014-N (2 CDs: 137:51)

SCHUBERT Klavierstücke, D 946: Nos. 1, 2. Ländler, D 366: Nos. 1 (2 versions); 2–5, 10, 13. Ländler, D 790: Nos. 3, 4, 7, 8, 11. Deutsche Tänze, D 420: Nos. 1, 3, 4. Piano Sonata in B?, D 960. SCHUBERT-LISZT Ständchen. Der Müller und der Bach. Ave Maria & • Cyprien Katsaris (pn) • PIANO 21 P21 042A (2 CDs: 103:27) Live: 7/3/93

& KATSARIS Improvisation on Themes of Tchaikovsky and Wagner. BACH Concerto in d, BWV 974: Adagio

“When I heard that recording, I was afraid to play the piece again—I will not play it again”: That’s how the mature Cyprien Katsaris, in an interview with me last year, described his reaction on rehearing this scorching live performance of the Liszt Sonata, taped when he was a youngster of 22 (see Fanfare 34:5). At the time, I wondered just how hyperbolic he was being. Now that I’ve had a chance to hear the performance—which concludes his two-CD Liszt sampler—I can easily understand why he feels that way. Granted, by the stopwatch (always unreliable, but especially so in a long work with dozens of tempo changes), this 29-minute reading is fairly centrist in overall timing. But it certainly doesn’t feel centrist. Rather, the overall effect is vertiginous—passages of almost terrifying impetus made even more ferocious by the extremity with which Katsaris plays many of the slower passages (try, for instance, the way he puts on the brakes as he approaches his arrival at measure 532, or the way he stretches the fermata before the Grandioso theme at measure 600). Yet for all the brinksmanship, for all the improvisatory bravura, there’s never a sense of approximation. Katsaris’s somewhat dry tone keeps the textures clear and his unerring control of articulation and accent keeps them active, with the result that the music consistently sounds both detailed and eventful. And in part because he has such a good sense of the music’s emotional architecture (including a sure understanding of the dramatic purpose of the recitatives), the music has a consistent sense of direction. This reading may not have the intellectual acuity of Steven Hough’s or the volcanic integrity of Ernst Levy’s or the depth of Richter’s many recordings. But for sheer adrenaline, the young Katsaris is a match for Simon Barere, and for sheer imagination, he’s got him beat.

The performance is doubly effective because it comes at the end of a recital that generally offers a rather different vision of both Liszt and Katsaris. Granted, once past the deceptively pensive opening, the high-speed performance of the Second Concerto is similarly searing—especially in the brilliant cascades in the final pages. Here, too, Katsaris ups the emotional ante with his careful articulation, which gives an unusually detailed profile to the musical gestures. And here too he manages to heighten things further with his extreme contrast (try the luxury of the Allegro moderato ). Granted, too, no one is likely to accuse him of underplaying the second Hungarian Rhapsody. But most of the rest of the performances—as befits the repertoire—are notable less for their razzle-dazzle than for their acute understanding of Liszt’s subtler rhetoric.

Thus, it’s not simply that Katsaris captures (even heightens) the strangeness of the radical late scores. More than that, the recording stands out because he manages to do so without turning the music abstract or damping its remaining romantic tendencies. Thus, he fully conveys the obsessive qualities of La Lugubre Gondola I —but he does so without losing the music’s sense of motion. Similarly, there’s no attempt to normalize La Lugubre Gondola II —but there’s no loss of the passionate desperation at its core. Listen to the marvelous tonal effects (including the artful pedaling) in Am Grabe or to the tremendous control of dynamics in the opening pages of the Trauervorspiel or to the disorienting contradictions of the Second Elegy (gloriously passionate, utterly bereft): Rarely has so strong a case been made for the emotional (as opposed to the experimental) qualities of these scores.

One caveat: As Patrick Rucker rightly pointed out in his knowledgeable review in Fanfare 35:4 (less enthusiastic than mine), this is not a collection for textual purists. The most startling deviation from the written score comes at the end of Trauervorspiel und Trauermarsch . Not only does Katsaris add a sonic halo to Liszt’s stark original, but he also throws in a striking effect: Just as the final sustained wash of sound seems to be dying away, it suddenly builds a crescendo. Can a piano really crescendo on a sustained sound? It certainly sounds as if there has been some electronic intervention, but in a series of e-mails Katsaris told me that it was a purely acoustical phenomenon created by the pedals. In any case, while it’s not quite what Liszt wrote, it does (at least to my ears) fit the mood of the music.

The sound varies according to the sources, but it’s generally good, and the studio performances—all of which are new—are a lot better than that. In the Second Concerto, the orchestra provides unusually rich and colorful support.

Schubert demands a rather different approach—and on this recital from 1993, he gets it. These are, on the whole, brightly illuminated performances, dryish in tone and often impulsive (although never rushed) in tempo. Thus, while the sonata is surely one of Schubert’s grander creations, there’s none of Horowitz’s intensity; indeed, Katsaris nearly whispers the third movement, and he offers a generally sunlit account of the finale. Yet for all the clarity, there’s no lack of melodic beauty (listen to the flexible melodic curls of the second of the Klavierstücke ), of timbral sensitivity ( Ständchen is exquisite), or (especially in his collection of Ländler and dances) of succulence and wit. Katsaris’s own fantasy on themes by Tchaikovsky (mainly Swan Lake ) and Wagner ( Tannhäuser , although Lohengrin might have been more fitting) is a delightful first encore—but the eloquent reading of the Bach, with its utter purity and peace, brings the recital to an even higher plane. Not quite as ear-catching as the Liszt recital, perhaps, but well worth owning even so.

FANFARE: Peter J. Rabinowitz

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Cyprien Katsaris Archives, Vol. 8: Schubert
Piano 21 Jul 2011
CD
$32.99

A HIDDEN LIFE - ORIGINAL MOTIO

Sony Masterworks

$11.98 Dec 06, 2019

TRACKLISTING1. A HIDDEN LIFE 2:512. GEORGE FRIDERIC HANDEL ISRAEL IN EGYPT, PART I“AND ISRAEL SAW THAT GREAT WORK”“AND BELIEVED THE LORD” 4:263. SURROUNDED BY WALLS 2:544. RETURN 2:425. INDOCTRINATION 2:136. MORALITY IN DARKNESS 3:147. LOVE AND SUFFERING 7:458. ARVO PÄRT TABULA RASA: II. SILENTIUM 15:499. HOPE 2:3010. DESCENT 6:2711. ANTONÍN DVORˇ ÁK CZECH SUITEI. ALLEGRO MODERATO 3:5512. HENRYK GÓRECKI KLEINES REQUIEM FÜR EINE POLKAIV. ADAGIO CANTABILE 6:2613. KNOTTED 3:4014. THERE WILL BE NO MYSTERIES 4:43

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A HIDDEN LIFE - ORIGINAL MOTIO
Sony Masterworks Dec 2019
CD
$11.98

AURA

ERASED TAPES

Vinyl

$32.99 Jul 29, 2022

There isn't a more unique entry into a musical journey than that of Japanese voice artist Hatis Noit, who today announces her much anticipated debut album Aura will be released June 24 on Erased Tapes. 1. Aura 2. Thor 3. Himbrimi 4. ACaso 5. Jomon 6. Angelus Novus 7. Inori 8. Sir Etok

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AURA
ERASED TAPES Jul 2022
Vinyl
$32.99

Dvorák: Symphony No. 6 - The Water Goblin
Coviello Jan 2014
SACD
$21.99

V 20: AURYN SERIES (DVD AUDIO

TACET Musikproduktion

DVD

$26.99 Mar 15, 2010

Placing the musicians around the listener has a very unusual effect, because the music besets your body and binds it; you sit in the middle of the musical action and you are under attack from all sides. You physically feel the vibration because it physically spreads through your body. But that is not all: your ears bathe in a sea of fairy-tale colors of the most sublime culture. 4009850011835 TCET118DVA 19542065 .00 26.99 .28 TACET RECORDS DVD AUDIO CLASSICAL CHAMBER MUSIC & RECITALS 02/15/2003 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/3/7/1997332.jpg 4 1 N HAYDN / AURYN QUARTET AURYN SERIES 20: AURYNS HAYDN OP 71 These and other Haydn recordings by the Auryn Quartet convince listeners and indeed make them enthusiastic by their instrumental sovereignty and refinement in their reaction to the given movement characteristics. This is doubtless one of the most important contributions to the Haydn Year" (+ûsterreichische Musikzeitschrift)

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V 20: AURYN SERIES (DVD AUDIO
TACET Musikproduktion Mar 2010
DVD
$26.99

LOCATELLI/KO.CPE.BACH
Berlin Classics Jan 2005
CD
$21.99

V7: COMPLETE STRING QUARTETS
MDG Jun 1997
CD
$23.99

Rota: Complete Solo Piano Works, Vol. 1 / Eleanor Hodgkinson

Grand Piano

$19.99 Jan 10, 2020

Nino Rota embraced neo-Classical, neo-Romantic and even neo-Baroque affiliations. His music prized melodic directness and communicative generosity and it is not therefore surprising that he should be best known for his epochal film scores – the music for The Godfather pre-eminently. Nino Rota’s 15 Preludes utilise melodic and harmonic explorations to chart music that is agitated and melancholic, but also joyous and comedic. The Fantasia in G comprises seven themes – folkloric, droll and ultimately heroic. A late work, the 7 Pezzi difficili per bambini is generous in its emotional directness. Eleanor Hodgkinson is a sought-after pianist and chamber musician. She partners a wide range of soloists and has performed at major venues including the South Bank Centre, Barbican Centre, Symphony Hall in Birmingham and St. John’s Smith Square. Recitals have taken her to North America, Denmark, Holland, Germany and France as well as extensive travel aboard cruise liners. She is one half of the piano duo, Duo Volante, and is the pianist with the Nimbus Ensemble and Harborough Collective. Eleanor also works with the Orchestra of the Swan and Mid-Wales Opera. As a founder member of the Elgin Piano Trio, she played throughout the UK to critical acclaim from 1999 to 2009. Her versatility has led to numerous collaborations, including a commission The Archduke Variations, with dancers of the Royal Ballet and premieres of British music in the Vigani’s Cabinet project at Queens’ College, Cambridge 2005–2007.

REVIEW:

Nino Rota wrote in many musical forms including film scores, concert music, and for solo instruments. Most listeners are familiar with his film scores for Federico Fellini and Franco Zefferelli. Rota wrote for a wide variety of musical requirements, but his style remained primarily neo-classical and neo-romantic. This worthwhile release explores some of the lesser known Rota repertory.

The 15 Preludes are from 1964—a very productive period for Rota, including several film scores and concert pieces that reflect a neo-classical sound, similar to Prokofieff. Some of the Preludes’ melancholic nature is like some of his film scores with a wistfulness and introspectiveness (marked Andante) that are low-key. But most of the Preludes are marked Allegro or Allegretto. Each is about two minutes so must make its point quickly with little development.

The Fantasia in G (1944-1945) in comparison is absolutely beautiful. At 16 minutes the seven main themes are fully developed and intermixed, and there is a restrained tension that overlies the neo-romantic sound. There are several lovely sequences, some with a folk-like character. Rota uses a sufficient variety of modes, rhythms, metric patterns, and musical progressions to maintain interest. You’ll want to repeat this almost immediately.

The Seven Difficult Pieces for Children are deceptively simple in texture and direct in their melodies and emotional communication with the listener. They sound somewhat similar to Bela Bartok’s Mikrokosmos. They are all very enjoyable and display a lighter side to Rota’s music.

Ms. Hodgkinson plays all beautifully, with a solid warm tone that draws the listener into the music. The sound is exceptional. I enjoyed this.

– American Record Guide

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Rota: Complete Solo Piano Works, Vol. 1 / Eleanor Hodgkinson
Grand Piano Jan 2020
CD
$19.99

Fortuity

SteepleChase

$22.99 Oct 02, 2001

Discovering new talents has been SteepleChase’s raison d’être throughout its history. John McNeil’s debut on SteepleChase label “Embarkation” SCCD 31099 in 1978 was a most typical example of such endeavor. During the late 70s and early 80s McNeil made 7 albums on SteepleChase. After 17 years of absence McNeil returns to the label with this thoughtful and stimulating CD, revealing his new height of maturity as an artist. The label itself grew 400 titles richer during the past 17 years.

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Fortuity
SteepleChase Oct 2001
CD
$22.99

MAHLER SYMPHONY NO.5

WARNER CLASSICS

Vinyl

$39.49 Nov 01, 2024

In 1999, Sir Simon Rattle was appointed as successor to Claudio Abbado as the orchestra's principal conductor. He gave his first concert as principal conductor on 7 September 2002, leading performances of Gustav Mahler's Symphony No. 5 and Asyla by Thomas Ades, a "spicy mix of traditional and modern" (The Guardian). These performances received incredible reviews from the press worldwide and the Mahler 5 recording released at that time won many awards, being one of his most successful albums so far. This recording is released on vinyl for the very first time. 'Rattle brings a real sense of structural cohesion and an apposite lightness of touch to passages routinely overweighted in the great performances of the past. The finale, deft, vigorous and full of joy, is sure to impress.' GRAMOPHONE

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MAHLER SYMPHONY NO.5
WARNER CLASSICS Nov 2024
Vinyl
$39.49

VOLUME ONE

DELMARK

$15.70 Dec 02, 1994

1949 and '51 recordings featuring Sidney Bechet, Muggsey Spanier, Don Ewell, Doc Evans and Miff Mole. Jazz Ltd. Was a Jazz club located at 11 E. Grand owned and operated by Bill and Ruth Reinhardt from 1947 into the early '70s. Bill played clarinet and led the five-piece house band at a time when many of Jazz's first creators were still out there hustling gigs. This is pure swinging traditional Jazz (some call it Dixieland) played by the pros. Thirteen songs include Maryland My Maryland, Egyptian Fantasy, Tin Roof Blues, High Society, Wolverine Blues, Maple Leaf rag, Charleston, Careless Love, Washington & Lee Swing and more. Also features a wonderful five minute interview with Bill and Ruth. (Previously deleted:7/1/07. Original release date:11/14/94)

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VOLUME ONE
DELMARK Dec 1994
CD
$15.70

VICTORIA (ORIGINAL TELEVISION

Sony Masterworks

$11.98 Oct 06, 2017

By popular demand, Sony Classical will release the soundtrack to the hugely successful period drama, following the early life of Queen Victoria. From her ascension to the throne at the tender age of 18, through to her courtship and marriage to Prince Albert. Queen Victoria went on to rule for 63 years and was the longest-reigning British monarch until 9th September 2015 when she was overtaken by her great-great-granddaughter, Queen Elizabeth II. The soundtrack features the instantly recognizable and Emmy nominated theme tune, performed by Mediaeval Baebes1 The Suite 2 The King Is Dead 3 Coronation 4 Lord M 5 Locomotives 6 Mirrors 7 The Wedding 8 The Royal Birth 9 Privy Council 10 A Royal Affair 11 Victoria Titles ABOUT THE COMPOSERSMartin PhippsComing from a musical background (he is Benjamin Britten’s godson), Martin Phipps scored his first TV drama, Eureka Street, in 2002. Since then he has won 2 BAFTAs & 5 Ivor Novello Awards and has gone on to write music for many of the most interesting series of recent years, including the BBC and Weinstein Company’s War and Peace; Peaky Blinders and Black Mirror. In film, Martin Phipps is currently scoring Fox Searchlight’s The Aftermath, starring Keira Knightley and Alexander Skarsgård. Previous film credits include the Weinstein Company’s much anticipated Woman In Gold with Hans Zimmer, starring Ryan Reynolds and Helen Mirren; Harry Brown and Brighton Rock. Ruth BarrettRuth Barrett, has amassed an impressive number of cinema and drama credits including two scores for Dredd 3D director Pete Travis: Legacy and City Of Tiny Lights; Toast, the BBC feature film starring Helena Bonham Carter; Wallander, the BBC detective series starring Kenneth Brannagh; the BBC’s Remember Me; the British feature film Harry Brown starring Michael Caine and the gritty and hard-hitting Paul Abbott-penned feature thriller Twenty8K with UK producer Jake Gosling. Ruth Barrett’s most recent scores include Hat Trick Production’s medical drama, Critical; ITV’s hugely popular brand new eight-part family drama, The Durrells and the BBC’s five-part comedy drama Love Nina, starring Helena Bonham Carter. Ruth Barrett studied composition at The Royal Academy of Music and read music at Cambridge University.

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VICTORIA (ORIGINAL TELEVISION
Sony Masterworks Oct 2017
CD
$11.98

BROADWAY ON THE BIG SCREEN-6-FILM COLLECTION

WARNER BROS

Blu-Ray

$67.32 Feb 17, 2026

Six-disc set includes: Brigadoon (1954)While on a hunting trip in Scotland, New Yorkers Tommy Albright (Gene Kelly) and Jeff Douglas (Van Johnson) stumble upon the magical village of Brigadoon, which appears for one day every 100 years. And when Tommy falls in love with beautiful enchantress Fiona (Cyd Charisse), he must decide if he should stay or return to his humdrum life. With Elaine Stewart, Barry Jones. The classic Lerner and Loewe score includes "From This Day On," "I'll Go Home with Bonnie Jean," "The Heather on the Hill." 108 min. C/Rtg: G Guys And Dolls (1955)Damon Runyon's colorful gangsters come to life in this lavish film adaptation of Frank Loesser's beloved Broadway musical. Frank Sinatra is Nathan Detroit, proprietor of "the oldest established permanent floating crap game in New York," and Marlon Brando is high-rolling gambler Sky Masterson; with Jean Simmons, Vivian Blaine, Stubby Kaye. The score includes "Luck Be a Lady," "Adelaide's Lament," "Sit Down, You're Rockin' the Boat." 149 min. C/Rtg: NR The Pajama Game (1957)Labor relations take on a whole new meaning in George Abbott and Stanley Donen's filming of the hit Broadway musical, itself based on the 1953 novel "7 1/2 Cents," with garment worker activist "Babe" Williams (Doris Day) and factory foreman Sid Sorokin (John Raitt) playing the enemies-turned-lovers. "Steam Heat," "Hey There," and "I'm Not at All in Love" are among the memorable Adler/Ross tunes enhanced by Bob Fosse's choreography. With Carol Haney. 102 min. C/Rtg: NR Damn Yankees (1958)A lifelong and long-suffering Washington Senators fan makes a deal with the devilish Mr. Applegate (Ray Walston) and is transformed into young slugger Joe Hardy (Tab Hunter), ready to lead his club to the pennant, in this hit adaptation of the Broadway musical comedy from George Abbott (who co-directed with Stanley Donen). Gwen Verdon is Lola, Applegate's sultry sidekick; look for choreographer Bob Fosse as a mambo dancer. The score includes "Heart," "Whatever Lola Wants." 111 min. C/Rtg: NR Gypsy (1962)Smash musical about the life of stripper Gypsy Rose Lee. Natalie Wood plays the vaudeville singer-turned-burlesque star, with Rosalind Russell as her abrasive stage mother. The Stephen Sondheim-Jule Styne score includes such gems as "Everything's Coming Up Roses," "Small World," and "You Gotta Have a Gimmick." With Karl Malden, Ann Jillian. 143 min. C/Rtg: NR The Boy Friend (1971)Director Ken Russell spoofs and salutes Hollywood musicals of the '30s in this heartfelt film. When the leading lady (Glenda Jackson) of a small-time theater company injures her ankle, she's replaced by a lowly assistant stage manager named Polly (Twiggy). Their show gets really wild when a big-time movie director comes recruiting, and Polly falls for her co-star (Christopher Gable). Classic show tunes and grand dance numbers highlight this production of Sandy Wilson's play. 136 min. C/Rtg: G

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BROADWAY ON THE BIG SCREEN-6-FILM COLLECTION
WARNER BROS Feb 2026
Blu-Ray
$67.32

CHARIVARI (BLACK CROSS SOLO SESSIONS 7)
CORBETT VS DEMPSEY Dec 2022
CD
$16.08

MOMENT OF TRUTH

BLUE NOTE RECORDS

Vinyl

$42.35 Jun 03, 2022

Limited 180gm vinyl LP pressing in deluxe gatefold jacket. Gerald Wilson's 1962 album, Moment of Truth, features his dynamic big band on an action-packed 9-song set (7 of which were composed by Wilson) with highlights including the swaggering blues of the title track, the irrepressible Latin groove of "Viva Tirado," and a fleet-footed version of Miles Davis's "Milestones." Blue Note Tone Poet Series features all-analog, remastered sound.

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MOMENT OF TRUTH
BLUE NOTE RECORDS Jun 2022
Vinyl
$42.35

Cry Me A River

SteepleChase

$22.99 Jan 01, 1990

Dexter In Radioland vol. 1 Dexter In Radioland is a mini series within the 36000 “classic” series and there are 7 volumes capturing Dexter in the very best period of his career. Copenhagen was his adoptive home in the 60s and the recordings here took place in the famous jazz club Montmartre with packed with enthusiastic audiences night after night. “...it is difficult to forget the staggering impact made by Dexter Gordon during his early sorties before European audiences....These splendid recordings celebrate Dexter’s first year in Europe and confirm that what we heard then was every bit as good as it seemed....There is a bonus...Atli Bjørn’s highly economical and individual style deserved a wider audience...” (Jazz Journal) “...there is every reason to join in the cheering of the audience. Remember him this way.” (The Times)

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Cry Me A River
SteepleChase Jan 1990
CD
$22.99

BRAZEN HEART LIVE AT JAZZ STANDARD - SATURDAY

GREEN LEAF MUSIC

$16.99 Jun 16, 2017

Featuring Saturday's two live sets from a four-night run at New York's Jazz Standard in 2015, the road-tested Dave Douglas Quintet delivers a roller-coaster ride of complex harmonic and rhythmic structures, veering between fierce and soulful on this two disc release. Also part of a complete 8 CD set, the music features New York heavyweights Jon Irabagon, Matt Mitchell, Linda May Han Oh and Rudy Royston. 1. Hawaiian Punch 2. Time Travel 3. Be Still My Soul 4. Brazen Heart 5. Whither Must I Wander? 6. Lone Wolf 7. Garden State 8. Miracle Gro 9. Barbara Allen 10. Inure Phase 11. Little Feet

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BRAZEN HEART LIVE AT JAZZ STANDARD - SATURDAY
GREEN LEAF MUSIC Jun 2017
CD
$16.99

ESSENCE VOL.1

DIGGERS FACTORY

Vinyl

$44.99 Aug 29, 2025

When this album came out in 1995, it was an incredible breath of oxygen that penetrated the lungs of jazz, until then asphyxiated by young wolves, or let's say young clones, who were competing to see who could best imitate McCoy Tyner, Bill Evans or Herbie Hancock... This album by Ahmad Jamal, a legendary pianist if ever there was one, is perhaps his greatest album of the decade... After two disappointing albums released by Telarc in the early '90s (here and here...), here he is with a project that's downright exciting and worthy of his talent. Jamal has a new lease on life. Surrounded by a rhythm section he knows very well (his friends James Cammack, Jamil Nasser and Idris Muhammad are all part of the project), and with the exception of Israel Crosby and Vernell Fournier, Jamal has never felt more at ease than with these three. He also reunites with Manolo Badrena on percussion and George Coleman, an unfortunately little-known tenor saxophonist with an impressive track record (from Max Roach to Chet Baker and Miles Davis). Jamal's style is percussive piano, incredible finesse and suppleness of play, and an unheard-of sense of revival and dynamics. In short, if this pianist is unavoidable, it's also because he's a sacred monster with his own identifiable "sound", right from the very first bars. You won't soon forget him... Personnel : Ahmad Jamal - piano James Cammack - basse (pistes 1, 2, 4, 5, 7 et 8) Jamil Nasser - basse (pistes 3 et 6) Idris Muhammad - batterie Manolo Badrena - percussions George Coleman - saxophone tenor (pistes 3 et 6)

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ESSENCE VOL.1
DIGGERS FACTORY Aug 2025
Vinyl
$44.99

THE FOREIGNER (ORIGINAL MOTION

Sony Masterworks

$11.98 Oct 13, 2017

Sony Music proudly announces the release of THE FOREIGNER (Original Motion Picture Soundtrack) with the music by Grammy® nominated composer Cliff Martinez (Drive, TV’s The Knick). “This is a unique score for me - my first time doing a score for a nonstop action film,” said Martinez. “Director Martin Campbell trusted me and left me alone to do what I do best. The music is all electronics with a couple of hardware synthesizers - it’s really dark and tense.” THE FOREIGNER, starring Jackie Chan and Pierce Brosnan, is a timely action thriller from director Martin Campbell, about a humble London businessman Quan (Jackie Chan), whose long-buried past erupts in a revenge-fueled vendetta when the only person left for him to love - his teenage daughter - is taken from him in a senseless act of politically-motivated terrorism. In his relentless search for the identity of the terrorists, Quan is forced into a cat-and-mouse conflict with a British government official (Pierce Brosnan), whose own past may hold clues to the identities of the elusive killers.Martinez added, “There’s a recurring theme in the film where Jackie [Chan] keeps wiping the floor with these young bodyguards and keeps saying, in essence, ‘I can’t believe you guys can’t handle an old man’. I found out that Jackie and I are only a few months apart in age. I hope you young guys can handle us old men!”1. Landscape Gardener 2. Spit It Out 3. Wired to Blow 4. He Jumped Off the Roof 5. I Wouldn't Count on It 6. Daughters Room 7. Another Bombing 8. That's Where I'd Be 9. Your Mole is Hugh McGraw 10. Three Second Wonder 11. Put Your Bag on the Table 12. She Used You 13. X-Rays Down 14. Clean Up Your Mess 15. Observe and Report

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THE FOREIGNER (ORIGINAL MOTION
Sony Masterworks Oct 2017
CD
$11.98

Good Medicine / Doc Severinsen

RCA

$17.99 Jul 26, 2010

Personnel includes: Doc Severinsen, Snooky Young, Tom Brown, Richard Perry, Bobby Bryant, John Audino (trumpet); Mac Kenley, Robert Alexander, Lloyd Ulyate, Gene Cipriano (trombone); Vincent DeRosa (French horn); Lew Tabackin, Bud Shank, Ernest Watts (woodwinds); Ross Tompkins, Pat Rebillot, Michael Woodford (piano); Dennis Budimir, Peter Woodford, Tommy Tedesco (guitar); John Williams, Meyer Rubin (bass); Fred Stites, Ed Shaughnessy (drums); John Pacheco, Michael Collazo, Larry Bunker (percussion).

Producers: Don Sebesky, Pete Spargo, Dick Hyman, Joe Reisman.

Compilation producer: John Snyder.

Recorded at RCA Studios, New York City and RCA Studios, Hollywood, California on April 29 & 30, 1971; June 2, 1971; June 12, 1972 and August 22, 1973. Includes liner notes by Mort Goode.

Digitally remastered by Joe Lopes (May 7, 1992, BMG Recording Studios, New York, New York).

This compilation contains tracks recorded for RCA from 1971-1973.

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Good Medicine / Doc Severinsen
RCA Jul 2010
CD
$17.99

Love For Sale

INTERSCOPE RECORDS

$16.49 Oct 01, 2021

Celebrating 10 years since they first recorded together, Tony Bennett & Lady Gaga returned to the studio for another collaboration featuring the very best of the Cole Porter Songbook. Continuing the musical legacy that began with “Lady Is A Tramp,” followed by the GRAMMY winning album, Cheek To Cheek, this new recording captures the evolution of the singular creative and personal relationship of these two world famous artists. Tony, who turns 95 on August 3, 2021, has spent over 7 decades dedicated to performing the Great American Songbook and Lady Gaga who, with Tony by her side, renewed her love of the popular standard and redefined herself in the process. The album features duets as well as solo performances by both artists accompanied by Tony Bennett’s quartet, The Brian Newman Quintet, along with big band and orchestral arrangements by Marion Evans and Jorge Callandrelli.

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Love For Sale
INTERSCOPE RECORDS Oct 2021
CD
$16.49

STELLAR PULSATIONS

DELMARK

$15.70 Aug 21, 2012

Rob Mazurek's latest venture into the universe of sound is the all mighty Pulsar Quartet featuring the magic and power of Angelica Sanchez - piano; the melodic shapes of Matthew Lux - bass; the polyrhythmic galaxies of John Herndon - drums and the solar arcs of Rob Mazurek on cornet. All members of the critically acclaimed Exploding Star Orchestra, the quartet sprays, throws, erupts and caresses 7 new Mazurek compositions that expand upon the idea of melodic freedom within the realm of shifting chromatics, pop-like harmonies, pulling anthems and contrasting pedal points.

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STELLAR PULSATIONS
DELMARK Aug 2012
CD
$15.70

V 25: AURYN SERIES - PIANO QUA

TACET Musikproduktion

$23.99 Nov 16, 2009

The Steinway used by TACET makes the three composers seem like contemporaries - that's how present and delicate this sound is. It fully meets the highest standards. How wonderful it is the way the grand piabno learns to sing under Mahler's and Reinecke's touch. It is for this reason, above all, that it is worth hearing this recording, even if one already knows the recording of the three composers from other productions: The sound speaks for itself. 4009850017905 TCET179.2 19548012 .00 23.99 .24 TACET RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/15/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/9/4/2/7/1997249.jpg 1 1 N SCHUMANN / AURYN QUARTET AURYN SERIES 25: PIANO QUARTET OP. 47 & PIANO This coupling of Schumann's two most popular piano chamber pieces is in every way a winner" (Fanfare)

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V 25: AURYN SERIES - PIANO QUA
TACET Musikproduktion Nov 2009
CD
$23.99