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"Hollywood legend Judy Garland left her mark on 20th century American art through her movies, stage performances, radio and songs. Her peerless ‘Over the Rainbow’ was voted ‘song of the century’ and five of her recordings entered the Grammy Hall of Fame. Lawrence Schulman presents an exceptional anthology with the first album featuring Judy Garland’s greatest hits and the second offering titles from private collections which have never been issued previously. The rarity of these recordings compensates the quality of sound which is inferior to studio recordings. A new aspect of this timeless icon from America’s Golden Age." Patrick Fremeaux FReMEAUX & ASSOCIeS ISSUES 25 NEVER-BEFORE-HEARD JUDY GARLAND TRACKS French Label Unveils 79-Year-Old Film Soundtracks and 72-Year-Old Radio Broadcasts Fremeaux & Associes is proud to announce the release of a new box set of two compact discs Judy Garland: Classiques et Inedits 1929-1956 [Judy Garland: Classic and Previously Unreleased Recordings 1929-1956] that contains forty Judy Garland recordings, most of which have been unavailable for up to seven decades. Culled from studio sessions and private collections from around the world, the anthology, whose tracks were trans-ferred by Grammy Award winner Jon M. Samuels in New York and remastered by Art & Son Studio in Paris, has been in preparation for over a year. It includes well-known and lesser-known Garland classics, but also collectors’ items many of which are previously unreleased, such as her screen debut at First-National—Vitaphone Pictures in 1929, 20 rare radio appearances of which 19 are new on CD, the first re-lease of a song she herself composed, and surround sound reproductions done for the set’s director, Lawrence Schulman, by the Australian sound engineer and award-winning radio host Robert Parker shortly before his death in 2004. The two tracks that open the first CD, "Blue Butterfly" and "Hang on to a Rainbow", are both from Vitaphone discs done by the 7 ½ Frances Gumm for early talkies in 1929 – almost a decade before "Over the Rainbow"! The collection encompasses all the labels for which Garland recorded during her career, from the earliest Decca side "Stompin’ at the Savoy", to her last MGM recording Get Happy, and beyond to her Columbia and Capitol sessions. Of special interest on the first CD are "Send My Baby Back to Me", "Heartbroken", "Without a Memory", and "Go Home, Joe", all recorded in 1953. Robert Parker, well-known for extracting stereo from vintage jazz and popular recordings, transferred them from DJ vinyl 78s into surround in 2002. This is the first time any Garland studio session has been heard in surround. A regular guest on the radio during her movie heyday, Garland sometimes tried her hand at standards and novelty numbers she never performed on film or record. These coveted collectors’ items, released sparingly over the years, make up the collection’s second CD, which includes her first preserved radio appearance from 1935 wherein she belts "Broadway Rhythm", as well as "Swing Low, Sweet Chariot" in 1938, "Goody Goodbye" in 1939, "In Spain They Say “Si-Si”" in 1940, "Daddy" in 1941, and "You and I" in 1951. Other new items to be savored are "Love’s New Sweet Song", a song Garland herself composed with husband David Rose in 1941 for a radio show, and a never-before-heard private record of her performing "Someone to Watch Over Me" for a Democratic Party dinner in 1944. “The fact that so many Garland radio performances have never been released so many decades after their broadcast is astounding” states Schulman. The 32-page brochure in French and in English contains liner notes by Schulman, as well as a detailed discography. Fremeaux & Associes, founded by Patrick Fremeaux and Claude Colombini, and recipient of the Grand Prix in honorem of the Charles Cros Academy, has built a catalogue over the years of some 25,000 references distributed in 32 countries. With of over 1000 awards, the label takes pride in striving to rehabilitate the sound heritage of the 20th century to make our collective memory permanently available to future generations.

Antonio Vivaldi (1678-1741) was an Italian composer, violinist, and priest, widely regarded as one of the most influential figures of the Baroque era. Born in Venice, Vivaldi was nicknamed "Il Prete Rosso" (The Red Priest) because of his red hair and clerical background. Although he was ordained as a priest, his true vocation was music. He spent much of his life working at the Ospedale della Pietà, a Venetian orphanage for girls, where he composed and directed music, training many talented young musicians. Vivaldi's greatest legacy lies in his instrumental concertos, especially those with the violin. Each concerto displays his remarkable understanding of the instrument's expressive and technical capabilities. His concertos typically follow the three-movement structure (fast-slow-fast) that became standard in later classical music. They are characterized by brilliant virtuosity, rhythmic vitality, and a clear sense of form and contrast between soloist and orchestra. Among his violin concertos, The Four Seasons (Le quattro stagioni) stands out as his most famous and innovative work. Composed around 1723 and published in 1725, this set of four concertos -Spring, Summer, Autumn and Winter- is a vivid example of early program music. Each concerto is accompanied by a sonnet that describes natural scenes and human emotions associated with the seasons. Through musical imagery such as bird calls, thunderstorms, harvest dances, and icy winds, Vivaldi masterfully translates the poetry into sound. Included are the concertos Op. 3, 4, 6, 7, 8, 9, 11, 12. Vivaldi's concertos influenced many later composers, including Johann Sebastian Bach, who transcribed several of them. Although his music fell out of favor after his death, the 20th century brought a revival of interest, restoring Vivaldi's reputation as a master of melody, color, and instrumental brilliance. Today, his concertos remain central to the Baroque repertoire and beloved by performers and audiences worldwide. Played by Italian violinist Federico Guglielmo and his L'Arte dell'arco. The press has been unanimous in it's praise: "a definitive recording, bravo!" (Diapason), "infectious joy, improvisatory flair and instinct, this is music making minted in the moment" (BBC 3), "They know the secret language of Vivaldi.." (Diapason).

A Newly Unearthed and Fully Restored Recording of Thelonious Monk's 1967 Paris Concert - Long Considered One of the Most Elusive Performances of his European Tour This marks the first official release from the Monk Estate. Monk Live in Paris, 1967 Volume One will be Available on 180-Gram Vinyl on April 24, 2026, via the Thelonious Monk Estate's Rhythm-A-Ning Entertainment Captured at the Height of Monk's Creative Powers, this Historic Performance Showcases the Pianist and Composer with His Classic Quartet: Charlie Rouse (tenor saxophone), Larry Gales (bass), and Ben Riley (drums) For it's first 70 years, the profound art of jazz made originality, singularity and unrestricted vision prime requisites of it's expression - not just in musicality, but also in personality, image, style and demeanor. The unparalleled composer/pianist/visionary Thelonious Sphere Monk epitomized every aspect of this in exponential form. As a result, he occupies a unique position in the Jazz Pantheon. Every aspect of this extraordinary man epitomizes jazz expression at it's most compelling level. His visual presence - his headwear, his glasses, his sartorial style - matched with his remarkably profound verbal statements, the way he danced around the piano during other musicians' solos; and even more importantly, his brilliant compositions that are both starkly angular, yet gorgeously lyrical, and matched by his piano playing which made dissonance and fractured rhythms so utterly delightful, make Thelonious Monk stand out dynamically even amidst his other transcendent peers. Capitalizing on all of this, the Monk Estate is launching a comprehensive plan to launch a new ongoing series of archival recordings under it's authorized control of material that has been circulated for years as bootlegs - and is doing so with clever brand marketing that will further express the legendary presence and spirit of this singular iconoclast. The initial release, Monk Live in Paris, 1967 Volume One, is very special, not only for it's merging of these elements, but also because it showcases Monk's longstanding quartet featuring tenor man Charlie Rouse and the bass/drums tandem of Larry Gales and Ben Riley, who are joined by five very special guest horn men. Alto saxophonist Phil Woods, trombonist Jimmy Cleveland, Ray Copeland and tenor titan Johnny Griffin (Rouse's predecessor in the quartet) perform in various permutations - with the full nonet, including trumpet legend Clark Terry, coming together in Volume Two of this wonderful concert recording (to be released October 9, 2026). Volume One includes four Monk classics (an apt description of virtually every one of his compositions) - 'Epistrophy, ' with a scorching, growlingly muscular Griffin solo and a lyrical and adventurous Copeland solo; the deliciously syncopated 'Evidence, ' with sparkling Rouse, another terrific solo by Copeland; and bluesy, wickedly swinging Woods. On both extended pieces, the four horns provide densely harmonic thematic statements and some adventurous riffing that spurs on the soloists for a spontaneous feeling with a jam session atmosphere of jubilant excitement. 'We See, ' again highlights Rouse and Copeland; with the beautiful 'Ruby, My Dear' just featuring the original quartet completing the package. Of course, Monk brings his totally singular piano stylings to each piece; and Gales and Riley both offer their own outstanding contributions as well. Monk's son, T. S. Monk, says Monk Live in Paris was chosen to showcase the caliber of musicians who traveled with Monk, though not excluding Charlie Rouse, who is most familiar to his public. 'Giants like Rollins and Coltrane, Abdul Malik, Roy Haynes or Art Blakey, Mingus and Max Roach spent much time with Monk, but they didn't travel that much, ' Monk says. 'People are quite aware of his touring and recording quartet, his colleagues as a young man at Minton's Playhouse, like Dizzy, Bird, Charlie Christian, Red Rodney, Kenny Clarke and so on. His touring with larger ensembles especially in Europe, not as much. The Clark Terry's, Phil Woods, Thad Jones', the Jimmy Cleveland's, Johnny Griffin's and others highlight the respect his peers had for him. Men in some cases that often led their own bands. These musicians traveled for the art as much as the money! In some cases, more so! They all loved Monk and their presence is a tribute to his artistry. ' 'Thelonious Monk never wrote music to fit a system, ' TS Monk says. 'He wrote to expand imagination and move the culture forward. We've spent years navigating piracy, legacy structures, and an industry not always built for artist control. This album release marks a shift - stewarded independently, handled with intention, and delivered directly to listeners. Legacy isn't something you just inherit - it's something you defend and reinvent. This is a milestone not just for our family, but for anyone who believes in art over formula. ' The recording is presented as a 180-gram audiophile pressing and was selected by Thelonious Sphere Monk III as the first in a new series of previously unreleased, rare live recordings, mastered by Rudy Van Gelder. The album cover artwork was designed by Japanese graphic designer and artist Gaku Inada. Vinyl: 180 Gram, Blue Vinyl Packaging: single pocket jacket with a polylined sleeve and insert Mastering and Lacquer Cutting: Warren Defever at Third Man Mastering Plating & Pressing by: United Record Pressing Graphic Designer: Gaku Inada https://theloniousmonk. Store/ https://www. #facebook. com/theloniousmonk https://www. #instagram. com/theloniousmonk Performed at the Salle Pleyel in Paris, November 3, 1967 RAY COPELAND trumpet (tracks A2, A3, B2) PHIL WOODS alto saxophone (tracks A2, A3) JOHNNY GRIFFIN tenor saxophone (tracks A2, A3) CHARLIE ROUSE tenor saxophone (all tracks) JIMMY CLEVELAND trombone (tracks A2, A3) THELONIOUS MONK piano (all tracks) LARRY GALES bass (all tracks) BEN RILEY drums (all tracks) Tracklist: Side A: Artist Introduction (2:00) Epistrophy (9:45) Evidence (14:24) Side B: Ruby, My Dear (7:40) We See (13:59)

On 17 April 2026, Divine Art is delighted to present France Revisited, Vol. 2, the second volume of French music for piano four hands from Piano A Deux, the husband and wife team of Robert and Linda Stoodley. France Revisited, Vol.2 includes Gabriel Faure's Dolly Suite, George Onslow's Sonata No.2 in F Minor, Op 22, and the Hungarian Rhapsody No.2 by Franz Liszt, arranged for four hands by Franz Bendel with new cadenzas by Piano A Deux - this is the premiere recording. Faure's Dolly Suite is a charming set of six duets for four hands, written for the daughter of Emma Bardac, who eventually married Debussy. The Suite was often re-visited by Faure, and in 1906 was arranged for orchestra by Henri Rabaud. The piano duets were first premeired by Alfred Cortot and edouard Risler in 1898. Born in France but of English descent, George Onslow's music found approval from elites like Robert Schumann and Felix Mendelssohn, being crowned the "French Beethoven" by his publisher and other contemporaries, although later falling out of favour. During their research into less well-known composers, Piano A Deux discovered Onslow's duet sonatas in a dusty library drawer. The Opus 7 Duo Sonata was recorded for the first volume of France Revisited and the Sonata No.2 in F Minor, Opus 22 is heard in this second volume. Given many performances by Chopin and Liszt, it is conceived on a grand scale, symphonic in structure and reflects the Beethovenian aspects of Onslow's style. Liszt's Hungarian Rhapsody No.2 is probably one of the best-known solo pieces in the piano repertoire, from a composer who stands like a colossus in the pianist world, crossing geographical boundaries. Piano A Deux have taken Bendel's arrangement for four hands, adapted it and written their own cadenzas, returning the piece to it's virtuosic persona. An adventurous piano duo with a wide repertoire which includes major classical works and their original arrangements from the world of opera, film and musical theatre, Piano A Deux have performed in countries like Singapore, Italy, Germany and Finland to standing ovations. Meanwhile their concerts on cruise ships have won them a large following of seasoned concertgoers as well as new audiences who are delighted by their unique themed programs, exquisite music-making and charisma blended with humour." Novel programming presented with charm, humour and drama, combined with their original arrangements has won them many fans worldwide. Surprisingly, Robert & Linda met online, not through music. They married in 2008 and "Piano À Deux" was formed in 2010. Piano A Deux have been hailed as being worthy of taking on the mantle of longtime Divine Art recording artists Goldstone and Clemmow, a duo whose career was aborted by the untimely death of Anthony Goldstone. Their playing in 'France Revisited' Vol 1 was praised as "piano four hands... at it's very best.."

Recorded at Sanders Theatre, Harvard University, on 1 December 1959 (Symphony No. 3), 4 February 1958 (Symphony No. 4) and 7 April 1959 (Mozart)

Picture format: NTSC 16:9
Sound format: Ambient Mastering
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German
Running time: 70 mins
No. of DVDs: 1

There should be really a collective noun for the plethora of WGBH telecasts featuring Charles Munch now emerging on ICA Classics. The series, covering the years 1958-60 and largely taped at Harvard, has proved highly impressive, albeit sometimes interpretatively inconsistent – and occasionally unreliable in filmic terms.

This one focuses on two Mendelssohn Symphonies. The Scottish was taped in December 1959 and is of good quality. As is often the case in this series the camera panning shots are sometimes jerky – I wonder what kind of mount was used, as there is occasionally slippage during shots. Clearly editorial work went into the chosen shots but again things didn’t always go right on the night; it’s fine to concentrate on the hard working percussionist, but only if he’s actually playing – and then playing something of significance. As often in this series sectional shots are favoured, though sometimes they are apt to be cumbersome. But when one sees Munch one observes the rapt concentration that so often produced an extra quotient of excitement during these performances. The proximity of the audience must have helped spark something of that added level of adrenalin. It’s only late in the symphony that I noticed that, presumably because of space shortages at the hall, the piano is visible actually in the body of the orchestra. What was the concerto, one wonders, and who was the soloist? I commend retrospectively the director, David M Davis, for managing (almost) to obscure this detail.

The Italian Symphony suffers from a much grainier picture, though it was recorded only a couple of years or so earlier in February 1958. This is another feature of the series – varying quality of footage within discs. It results in some lines running across the screen. The sound is decent enough mono, but the visual element lacks the clarity of the Scottish. Shame though this is, it doesn’t obscure Munch’s vigorous take, almost Toscaninian in places. The director for this was Whitney Thompson and he preferred more static shots, bedding the image solidly, reluctant to keep things moving too much - he was less of a visual contrapuntalist than Davis. When there are panning shots, the image degrades somewhat. There are also a couple of poor edits. Personally, I find this doesn’t matter to me. These are artefacts of their time. I did wonder, though, if the ‘hair on the lens’ problem could have been mitigated in post-production and remastering. Maybe not. It doesn’t last too long, nor do the smudge marks on the print. I mention these things not to suggest that you are in for a disastrous viewing, but to make you aware of the imperfections inherent, or seemingly inherent, in the production.

We also have a ‘bonus’ of Mozart’s Masonic Funeral Music, from April 1959. It too is rather grainy. And yet again I wonder rhetorically how a DVD that lasts 73 minutes can include a ‘bonus’. Is anyone fooled?

That apart, and with the spirit of caveat emptor in the air for those unfamiliar with these telecasts, I ought to end by saying that these Mendelssohn performances are terrific.

-- Jonathan Woolf, MusicWeb International

The Hallé label shows both artistry and acumen in this release. This is something to celebrate among the legion of RVW mavens. It is the first complete recording of Vaughan Williams music for the 1909 Cambridge University production in Greek of the comic satire "the Wasps" by Aristophanes. The wide appetite of the classical music audience for Vaughan Williams is strong and not just in England. Rather like Britten and Tippett his music has travelled and enjoyed performances and nurtured enthusiasm far and wide. Mark Elder, who has done so much for the renaissance of the Hallé, is to be congratulated for his decision to associate himself with the project and for directing with such vitality. In a way the incongruity of the music in relation to the plot and satire hardly matters even where a taste of the drama is given through the David Pountney narration. I detect very little satire in this music. The music now seems inextricably and delightfully bound up in the English countryside, its cheeriness and its verdant beauty.

The narration explodes onto the scene with a strangulated scream of ‘Bastard!’ from the rough trade of Henry Goodman doing his best Ray Winstone act. Some flavour of the narration and the singing is in tr. 5 in CD1 where the tenors sing: ‘Could you not find any clean underwear?’ The whole effect is of one of those de luxe BBC Radio productions with full orchestral apparatus as in Ibsen’s Peer Gynt, Brecht’s Schweik in World War Two and in Flecker’s Hassan. The music plays over the snores, moans, speaking, salt and spleen of narrator Goodman. The overture starts to mean more when one hears the buzzing main theme sung by the chorus in ‘When we buzz’. The Hallé Chorus are in sterling voice singing like a phalanx of football thugs at one moment and classically lightly English at another (CD1 tr. 11 1:26).

CD2 includes Acts II and III. It launches with a delicate, tip-toe night march purged of all absurd overtones - sheerly delightful writing (Entr’Acte). This continues but with the absurdist gearbox fully engaged in The March Past of the Witnesses. This is RVW the far-seeing anticipating Prokofiev which he does again at 5:10 in tr. 15 where rather than Love for Three Oranges it is the Classical Symphony that is echoed/predicted. The Chorus Parabasis (CD2 tr. 7) recalls the mellifluous lilt of Serenade to Music and the writing of Vaughan Williams’ teacher Ravel. Back to spleen and bawdiness again in Pountney’s words for Melodrama (tr. 15): "Out of my way, you bunch of faggots, you pussy-footing plonkers ..." And there’s more, dear reader. This is not for the genteel auntie. Do bear in mind that here in the sung and spoken text you catch something of the football terraces and of punk. This is RVW red in tooth and claw. Then again other sections such as the flute and harp troubadourisms of Chorus and Dance (tr. 15 at 00:55) recall the writing in Sir John in Love. At the end where Procleon snores the effect predicts the somnolent Sir John Falstaff. It is equally Falstaffian - but in a different way - when he half wakes and mutters with drooling relish: "Show your daddy your dainty tussies and set them all in motion." It is a multi-faceted score - frankly fascinating.

Vaughan Williams re-scored parts of the music for the well known five movement orchestral suite. It is that suite and the overture by which most listeners will know some of this music. There is no competition for this set.

The set includes the full score of 80 minutes and incorporated dialogue of circa 25 minutes. The documentation is non-pareil with Michael Kennedy’s essay, David Pountney’s preface, full texts in English only, artist profiles and a listing of all personnel in the orchestra.

If you are interested, the full study score can be obtained from Faber Music. This is based on the editorial work of Igor Kennaway who back in the early 1990s conducted one of the best ever productions of RVW’s ‘morality’ Pilgrim’s Progress.

Some may find this an unnerving experience but it works superbly well provided you are ready for the salty dialogue. It’s a small price to pay for the fascination and delight of hearing so much familiar and unfamiliar Vaughan Williams.

- Rob Barnett, MusicWeb International

In 1958, the first issue of a new magazine named Jazz Review contained an essay by musicologist Gunther Schuller, titled "Sonny Rollins and Thematic Improvisation". The piece's premise was simple - to examine a single Rollins' solo on a recording called Blue 7 (heard on the saxophonist's iconic 1956 LP Saxophone Colossus), whose title gave away the basic structure of the performance - that of the back-bone of jazz, the twelve bar blues. Rollins was already one of the most talked-of jazzmen of his generation, seen by many as a genuine heir to Bebop's founding father Charlie Parker, but Schuller's painstaking analysis elevated him further still, to the rank of innovator whose blues improvisations had a level of compositional cogency of one "who spends days or weeks writing a given passage". Rollins, Schuller believed, had provided a defining example of the art of jazz. Yet, like all good critics, he was aware that such a performance didn't come out of nowhere. Although Blue 7 was undoubtedly a high spot, it was a peak that dominated a landscape littered with other such achievements. Indeed, it was just the latest in a series of classic blues solos Rollins had been setting down on record with his own groups and those led by others since the early 1950s. This new collection collates a selection of those great performances - the first ever issue to concentrate solely on Rollins; blues specialist. Well-regarded for his musical wit and penchant for oddball song choices, since Blue 7 remarkably little has been written about the great saxophonist's ability to wring pure invention from the most fundamental format in jazz, yet the blues (part of his artistic DNA since his days as a teenage Louis Jordan fan) has been at the back of all Rollins' stylistic shifts over a sixty year career. Packaged with period photographs and a fascinating booklet note by saxophonist Simon Spillett, this anthology charts a course through some of his greatest musical encounters - with other giants like Dizzy, Miles, Coltrane and Monk - as well as documenting his never-ending quest for the most stimulating of instrumental contexts. There are pianoless trios, a series of classy quartets and quintets and one especially memorable session, a two-piano sextet. Whatever the setting though, and whatever the tempo (which ranges from a roar through Sonnymoon For Two to the slow purr of Sumphin'), this is Sonny Rollins proving time and again that the blues is at the very core of his immense contribution to the music. Number of Discs: 2

Standards strongly maintained– giving a budget price injection to a notably well curated series.

This is another emigrant from Marco Polo [8.570184] and joins the Naxos Film Music Classics series, a burgeoning one that reflects well on the company’s steady devotion to the art on disc. The music is by Max Steiner and was written for two Bette Davis vehicles, All This, and Heaven Too and the post-War A Stolen Life.

One thing that distinguishes the series, apart from the purely musical values embodied by the Moscow Symphony’s performance under the experienced John Morgan, is the nature and quality of the supporting notes; you won’t necessarily want to plough through the purely theatrical-dramatic ramifications, nor – if you’re not much of a cineaste – will you much be exercised by what Bette Davis thought, or didn’t think about her roles in these films; but it’s good to know that these details are here.

All This, and Heaven Too has a hundred minutes of music, which is here condensed to under half that length by means of eliminating repetition and such like. The orchestration is by Hugo Friedhofer, whom Steiner held in the highest professional esteem for his work – and no wonder. The result is a kind of through-composed Wagnerian approach, rich, vibrant, exciting and fully up to the expected Steiner Standard.

There are twelve cuts and some run scenes together. The Carriage Ride scene, for instance, lasts a mere 1:32 whilst track eight holds All Hallows Eve, the Lotis Song, Springtime and the Carousel and consequently lasts 5:42. The Duke’s Dying and finale lasts an even longer 7:28. In other words there is plenty of variety both musical and in terms of cutting.

That Carriage Ride is written in Steiner’s best light and airy style whereas A Night To Remember for Louise is full of rich, verdant and gorgeous lyricism. A feature of the writing is the opposition between the open-hearted lyricism of the love music and the more eerie, malevolent writing; for such things Steiner reserves percussion and here we find him using two pianos and celesta and more besides. Romance and portent hover over the final scene before the End Cast – always a good feature of the series in presenting an "authentic" listening experience.

The companion work is a more sparsely and simply orchestrated affair lasting twenty-six minutes in this reconstruction. Best to pass over the note’s reference to a "sea chanty" and better to concentrate on the precision of the writing and its effective realisation. A Stolen Life has a central storm scene which is the opposite of grandiose in its orchestration – instead the clever use of the piano effectively evokes the hubbub without undue exaggeration. There are some splendid little dance moments and some cod Nauticalia that amuses.

Standards are strongly maintained in this release – giving a budget price injection to a notably well curated series.

-- Jonathan Woolf, MusicWeb International

Biret grasps the size of Beethoven' style. The polyphony is laid out in a relaxed way with little indulgence in point making. She keeps the big line and yet is thankfully sparing in her use of fortissimos. The piano tone is sumptuous. 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RECITAL 8014399501781 MYT178.2 14366246 .00 10.99 .23 MYTO RECORDS ITALY COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 03/31/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/3/7/4/1/1711473.jpg 5 1 N GARDNER,VINCENT GOOD BOOK CHAPTER 1 716043161621 SPS31616.2 12213092 .00 22.99 .19 STEEPLECHASE COMPACT DISCS POP JAZZ 04/10/2007 https://mediacdn.aent-m.com/prod-img/500/98/1547898-3297134.jpg 11 1 N PERRY,RICH AT THE KITANO 1 716043160020 SPS31600.2 11845232 .00 22.99 .19 STEEPLECHASE COMPACT DISCS POP JAZZ 10/10/2006 https://mediacdn.aent-m.com/prod-img/500/68/1548068-3297118.jpg 3 1 N ZAK,PETER FOR TOMORROW 716043159222 SPS31592.2 11548874 .00 22.99 .20 STEEPLECHASE COMPACT DISCS POP JAZZ 05/16/2006 https://mediacdn.aent-m.com/prod-img/500/69/1548069-3297110.jpg 9 1 N SPIEGEL,RUSS CHIMERA 716043162222 SPS31622.2 12356980 .00 22.99 .14 STEEPLECHASE COMPACT DISCS POP JAZZ 06/12/2007 https://mediacdn.aent-m.com/prod-img/500/11/1548111-3297140.jpg 6 1 N ALBANY,JOE BIRDTOWN BIRDS 716043100323 SPS31003.2 04993575 .00 22.99 .18 STEEPLECHASE COMPACT DISCS POP JAZZ 07/27/1994 https://mediacdn.aent-m.com/prod-img/500/96/1548196-3296398.jpg 9 1 N ALBANY,JOE TWO'S COMPANY 716043101924 SPS31019.2 04993735 .00 22.99 .24 STEEPLECHASE COMPACT DISCS POP JAZZ 07/27/1994 https://mediacdn.aent-m.com/prod-img/500/97/1548197-3296420.jpg 9 1 N AMBROSE,ARI INTRODUCING ARI AMBROSE 716043145027 SPS31450.2 07720727 .00 22.99 .22 STEEPLECHASE COMPACT DISCS POP JAZZ 01/01/2000 https://mediacdn.aent-m.com/prod-img/500/98/1548198-3296962.jpg 9 1 N AMBROSE / RILEY TENOR TREATS TWO 716043167623 SPS31676.2 14806193 .00 22.99 .20 STEEPLECHASE COMPACT DISCS POP JAZZ 11/10/2009 https://mediacdn.aent-m.com/prod-img/500/99/1548199-3297197.jpg 19 1 N BLEY,PAUL MY STANDARD 716043121427 SPS31214.2 04995647 .00 22.99 .19 STEEPLECHASE COMPACT DISCS POP JAZZ 05/03/1994 https://mediacdn.aent-m.com/prod-img/500/80/1548380-3296693.jpg 9 1 N CHOPIN / LATOUR 24 PRELUDES POLONAISE 722056256025 ATAS2560.2 12551378 .00 15.99 .25 ATMA CLASSIQUE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/30/2007 https://media.aent-m.com/graphics/items/sdimages/a/500/1/4/9/9/1139941.jpg 0 1 N FERGUSON / KOCH / GOUGEON / QUATOUR DE SAXOPHONES QUASAR 722056102025 ATAS1020.2 10750896 .00 15.99 .23 ATMA CLASSIQUE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/01/2005 https://mediacdn.aent-m.com/prod-img/500/95/800695-3545859.jpg 0 1 N CHOPIN / LISZT / SCHUBERT / GOMEZ-MANSUR RECITAL 5414706102527 AVCL1025SACD 12039456 .00 21.99 .18 AVANTI CLASSIC SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 01/30/2007 https://media.aent-m.com/graphics/items/sdimages/b/500/5/4/8/8/1028845.jpg 7 1 N HAYDN / QUARTETTO MODUS / PAPPALETTERE QUARTETS OP 76 FOR FLUTE & STRING TRIO 8011570338747 STU33874.2 15986214 .00 18.99 .23 STRADIVARIUS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/13/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/1/7/9/1/1881971.jpg 34 1 N O DU FROHLICHE / VARIOUS O DU FROHLICHE / VARIOUS 782124829025 BLN8290.2 11705413 .00 10.99 .22 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 08/22/2006 08/21/2025 https://media.aent-m.com/graphics/items/sdimages/b/500/6/3/7/3/953736.jpg 10 1 N HANDEL / PURCELL / CLARK / BACH / BEAULAC TRUMPET TUNES 722056236928 ATAS22369.2 11695363 .00 15.99 .22 ATMA CLASSIQUE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/22/2006 https://mediacdn.aent-m.com/prod-img/500/07/812907-3546027.jpg 0 1 N BEETHOVEN / LISZT / BEETHOVEN / FRIED OSKAR FRIED CONDUCTS 017685118524 MUA1185.2 11702191 .00 18.99 .25 MUSIC & ARTS PROGRAM COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 08/22/2006 https://media.aent-m.com/graphics/items/sdimages/a/500/1/8/7/3/953781.jpg 2 1 N MENDELSSOHN / BATE COMPLETE ORGAN WORKS 4 748871305328 SOMM53.2 11703891 .00 20.99 .22 SOMM RECORDINGS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/22/2006 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/8/7/3/953786.jpg 15 1 N VIVALDI / STANDAGE / ECC / PINNOCK FOUR SEASONS 708093332526 CDD3325.2 14698187 .00 20.99 .21 CRD COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/13/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/7/1/3/2/1562317.jpg 4 1 N LINDGREN / DUO GELLAND FLAMMOR VID FJALLETS FOT 7330560071411 NSAG141.2 15363992 .00 18.99 .22 NOSAG RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/01/2007 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/8/6/2/1862683.jpg 5 1 N LINDORTH / KAMMARENSEMBLEN FRAN DEN OFORANDERLIGA BRYGGAN 7330560611334 NSAG133.2 15363893 .00 18.99 .25 NOSAG RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/20/2006 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/8/6/2/1862686.jpg 5 1 N OT AZOJ SANGER PA JIDDISCH 7330560007021 NSAG702.2 15362537 .00 18.99 .25 NOSAG RECORDS COMPACT DISCS POP INT'L & WORLD MUSIC JEWISH: TRAD. & KLEZMER 05/03/2001 05/10/2013 https://mediacdn.aent-m.com/prod-img/500/95/817895.jpg 4 1 N THORESEN / BERNTSEN / NORWEGIAN SOLOISTS CHOIR FROM SWEET-SCENTED STREAMS OF ETERNITY 7033662011308 SMXC1130.2 15539151 .00 20.99 .25 SIMAX CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 05/14/1998 https://media.aent-m.com/graphics/items/sdimages/a/500/3/0/8/2/1862803.jpg 1 1 N ADAM / BACH / DAGSVIK / REGER / SIBELIUS / BJORKOY I DENNE SOTE JULETID 7025560902420 PMSC9024.2 15509581 .00 20.99 .22 PRO MUSICA COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 01/08/1992 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/8/2/1862884.jpg 4 1 N CROSSLAND,JILL / MOZART / BEETHOVEN CROSSLAND PLAYS MOZART & BEETHOVEN 809730414725 DVS24147.2 15863409 .00 14.99 .17 DIVERSIONS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/12/2011 https://media.aent-m.com/graphics/items/sdimages/c/500/8/2/4/3/1863428.jpg 20 1 N UNITED STATES AIR FORCE BAND / SINGING SERGEANTS MUSIC TO FLY BY: GREAT SONGS OF AVIATION 754422558624 ALTS225586.2 11728627 .00 18.99 .18 ALTISSIMO RECORDS COMPACT DISCS POP MARCHING BAND / PATRIOTIC 09/05/2006 https://media.aent-m.com/graphics/items/sdimages/a/500/0/1/6/6/956610.jpg 46 1 N RHEINBERGER / GLORIAE DEI CANTORES / PATTERSON MOTETS MASSES & HYMNS 709887012129 GDEI121.2 15935625 .00 18.99 .21 GLORIA DEI CANTORES COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/09/2011 https://mediacdn.aent-m.com/prod-img/500/30/819430-2512167.jpg 3 1 N STOCKHAUSEN / SUSTECK,DOMINIK TIERKREIS First CD recording of Karlheinz Stockhausen's Tierkreis" ("Zodiac") in the version for organ released by WERGO: Originally composed for music boxes, the work has been arranged for organ and recorded by the young organist Dominik Susteck at St. Peter in Cologne. The thirty-three-year-old, who has been organist at St. Peter for four years, realized this project not only at an unusual venue but also on an unusual instrument. Since the 1980s, this Catholic chappel combines the church with contemporary art: The "St. Peter's Art Station" has become not only a much sought-after venue for exhibitions of contemporary art but also a special venue for new music due to numerous concerts and services with 20th- and 21st-century music. In addition, the "St. Peter's Art Station" is provided with an instrument built by Willy Peter which was designed for contemporary music: The four-manual great organ and the three-manual choir organ currently have 104 stops, including such unusual sound additions as siren, saxophone, and percussion orchestra with cymbals, drums, or xylophone. The organ, inaugurated in 2004, is worldwide unique because of it's design and structure. Dominik Susteck describes his interpretation of Stockhausen's work as "frozen musical movement. The instrument no longer sounds like an organ but proves to be a colourful, agile and dynamic being".