In his relentless quest to explore uncharted territories of cellodom, Yo-Yo Ma has delivered a recital for unaccompanied cello that–daringly–hasn’t any Bach. Instead, there are five works by as many composers, only two of which are truly successful as solo cello outings: Bright Sheng’s Seven Tunes Heard in China (a self-explanatory title if there ever was one) and Zoltan Kodaly’s justly famous Sonata for Solo Cello Op. 8.

Cardboard sleeve reissue from Herbert von Karajan features SHM-SACD format for the first time. Japanese original release. Recorded in August 1964 in St. Moritz.

The first official Rolling Stones’ rarities collection, Metamorphosis, was originally released in June 1975 to try to outwit the bootleggers.

Während seiner Zeit als Schlagzeuger bei Benny Goodman nahm Krupa leglich zwei Mal unter eigenem Namen (als Gene Krupa and His Chicagoans im November 1935 für Parlophone und im Februar 1936 als Gene Krupa’s Swing Band) eine Reihe von Titeln mit Solisten wie Chu Berry, Vido Musso, Israel Crosby (für den Krupa „Blues for Israel“ schrieb) und Roy Eldridge auf, darunter auch Vokalnummern mit Helen Ward, Irene Daye und Jerry Kruger.

In a series of 3 CDs, the Beethoven Trio Bonn explores the confrontation between one of Beethoven’s standard works for piano trio with a further “house music” arrangement of one of his orchestral works.

Dave Douglas is a prolific trumpeter, composer and educator from New York City. This album is dedicated to his older brother, Damon, who died of cancer in June 2015; and among its 11 tracks are two of the most beautiful hymns in the book, "Deep River" and "A Balm in Gilead", both played with passion, grace, and horn harmonies reminiscent of "Abide with Me" on Monk's Music. "Brazen Heart" contains a familiar, but increasingly sophisticated mix of post-bop reveries, virtuosic dazzlers, and lilting ballads. And, as with most Douglas albums, the sound quality is superb.

Eddy Arnold drifted steadily toward the pop mainstream throughout the late '50s and '60s until, with T"he Last Word in Lonesome", he arrived at his destination. "Country-pop" and "Nashville sound" do not describe the music here – it is pure MOR pop vocal material of the sort in which John Gary and Al Martino dealt.

It is telling that "Somebody Like Me", one of the blandest middle-of-the-road pop records Eddy Arnold made in the '60s, was also one of his most commercially successful. Its strong sales performance explains why the so-called Tennessee Plowboy came to make such an abundance of easy listening records.

"I Want to Go With You" spent six weeks at the top of the country chart and crossed over to the pop Top 40, becoming one of the biggest hits of the year and one of Eddy Arnold's biggest hits in the '60s.

In February 2009, on a date very close to the celebration of Mendelssohn’s 200th birthday, we got together for the first time in a quintet lineup in order to perform a small concert in the form of a public rehearsal.

Andrew Dewey Kirk (May 28, 1898 – December 11, 1992) was an American jazz saxophonist and tubist who led the Twelve Clouds of Joy, a band popular during the swing era.

Das beliebte Fragespiel, in welcher vergangenen Epoche man gerne gelebt hätte, wird von vielen Lied-Enthusiasten spontan mit der Zeit Franz Schuberts oder Robert Schumanns beantwortet.

Why Bach? Why Goldberg? Johann Sebastian Bach was a true “essence” of music: a composer who brought literally everything together in his output, bridging all periods from Gregorian chant almost all the way to Viennese Classicism.

With this record Foné is inaugurating a series of the complete recordings of the Sonatas and Partitas for Solo Violin by Johann Sebastian Bach interpreted by the violinist Roberto Michelucci.

“Chopin is an artist, Schumann is a poet” – states André Gide in his Notes sur Chopin published in 1939. At first Gide planned to write an essay on both musicians, but then realized that his interest in Robert Schumann had much weakened and that he had little more to say about him. In the same essay he wrote: “I don’t need the filter of literature or painting to appreciate music and I worry little about the meaning of a piece. The meaning restrains it and troubles me. And it is exactly for this reason that notwithstanding the glamorous adaptations of Schumann, Schubert and Fauré. I am mostly fond of a music without words or that, at most, has the pretext of a liturgical mysticism.”