"As the progenitor of a style whose influence more or less came to define the in- strumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli’s style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes – most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa – was a significant part of what his followers considered the ‘Corellian’ manner.

Skin on Skin is the second and final studio album by Canadian singer Vanity, released on May 24, 1986, by Motown Records.

Luca N. Stradivari (1993) is a composer and pianist of his own music. After he graduated at the University of Nottingham, he started to hold composition seminars and concerts in China since 2018. He writes: “The first part of this release is marked by the performance of The King is Dead – shipwreck for violin and piano…"

Since 1991 Daniele Benati has been the singer, guitarist and producer of the Ridillo group. The first things Bengi wrote and produced for TV were the theme songs for Turisti, Velisti per caso and Misteri per caso broadcast on Rai, Wedding Planners, Wonder Stories and Celebrity Now for Sky.

How did the Kinks respond to the fresh start afforded by Lola?

Real Life’ is the result of Melbourne singer songwriter Jess Locke trying to make sense of a world that feels more and more unreal. Some parts of the album simply expressions of despair at a world that feels more and more dystopian. Writing this record, Locke found herself thinking a lot about what it means to live when you know that one day you will die, not just individually, but as a species, as a planet. But as much as our impermanence is very much a fact, it is also a fantasy, some theoretical, future event.

Two of the major works that made Claudio Monteverdi the innovator of the musical world of his time were concentrated between 1607 and 1608 in Mantua: Orfeo, Favola in musica in 5 acts (24th February 1607, libretto by Alessandro Striggio Jr.) and Arianna, Tragedia in a single act (28th May 1608, libretto by Ottavio Rinuccini). The disappearance of any of Arianna's scores remains an unsolved mystery. We do not know what the musical style of the opera was, but from Rinuccini's libretto, we can guess that it was a development of the Florentine model of the Musiche di Iacopo Peri […] sopra l'Euridice del signor Ottavio Rinuccini (Florence, 6th October 1600).

In the rhythm of summer, Terrace Martin graces us with his second release, CURLY, a captivating jazz album that follows his earlier masterpiece, Fine Tune. Part of a grand series comprising six soul-stirring jazz albums scheduled for release throughout 2023, CURLY pays homage to both Terrace Martin’s own legacy and the timeless genre of jazz music.

Don't be fooled by the Bee Gees-esque cover photo, Love Beach is not really ELP gone pop. True, many of the songs are more concise and accessible than those on previous albums, and there are a couple of Greg Lake-dominated "romantic" tunes, but those had always been part of the deal. They're still classically rockin' along on "Canario," and half the album is dominated by the 20-minute epic "Memoirs of an Officer and a Gentleman," reminiscent of such long-form ELP classics as "Trilogy."

Recorded by Sean Murray at the HR Recordings “Music Room” , Madrid. September 20th and 21st, 2024. Soundfield microphones. C. Bechstein Piano, (1899) Piano preparation by Mario Izquierdo Manzano. (Pianos Izquierdo S.L.) Violoncello by Martin Schleske, 2017. München. Germany. Special thanks to Sandy Gibbons.

"In his 1919 essay “The Uncanny,” Sigmund Freud defines the term as follows: “the ‘uncanny’ is that class of the terrifying which leads back to something long known to us, once very familiar.” To this end, a feeling of uncanniness distinguishes itself from just being afraid because of its relation to what we already know, a disturbing variation of what we expect to see when we look in the mirror or the kind of horror that comes from inside the house. The uncanny valley, for instance, describes the creepiness that seeps in when we encounter an almost but not quite perfect replica of a human being (robots, computer animations, the list goes on).

In the traditional music of Galicia (a region in the north of Spain) we find the legacy of the baroque, its rhythms and dances in Galician Lullabies. Under this pretext Miguel Ulla as a Galician and specialist in early music set out to search in the traditional Galician songbook, lullabies called ‘cantos de berce’ to return them from their beautiful melodies to the imaginary of the 17th century. These melodies are just perfect for the Christmas time.

Béla Bartók’s Sonatas for Violin and Piano are among the most profound and expressive works not only in chamber music but in the history of music. These works are suggestive self-confessions that carry the late romantic spirit of Bartók’s music – evidenced by the stunning virtuosity of both instruments – but are also unsurpassably modern and daring. The composer’s relentless self-reflection sheds light on the most hidden stirrings of the human soul, universal emotions made palpable through myriad musical gestures.

He English cellist, Michael Kevin Jones, studied Music Performance Piano/Cello at Royal College of Music in London.

Four silhouettes levitating above an endless expanse of sand, their movements being captured like stolen from time, that is the cover image of Later.’s sophomore album ‘Golden Bay’.