Born and raised in Vienna, Josef Krips trained as a choirboy and studied with Felix Weingartner, who then hired him as a repetiteur at the Volksoper. He his debut there in 1921, before graduating to the Vienna State Opera in 1933. In the aftermath of the Second World War, it was Krips above all who reformed and re-trained the State Opera as a world-class ensemble, and in the most difficult conditions. His pragmatism and understated authority made him a model recording conductor, and Decca hired him to work with orchestras in several of their centres of activity.

Born and raised in Vienna, Josef Krips trained as a choirboy and studied with Felix Weingartner, who then hired him as a repetiteur at the Volksoper. He his debut there in 1921, before graduating to the Vienna State Opera in 1933. In the aftermath of the Second World War, it was Krips above all who reformed and re-trained the State Opera as a world-class ensemble, and in the most difficult conditions. His pragmatism and understated authority made him a model recording conductor, and Decca hired him to work with orchestras in several of their centres of activity.

Born and raised in Vienna, Josef Krips trained as a choirboy and studied with Felix Weingartner, who then hired him as a repetiteur at the Volksoper. He his debut there in 1921, before graduating to the Vienna State Opera in 1933. In the aftermath of the Second World War, it was Krips above all who reformed and re-trained the State Opera as a world-class ensemble, and in the most difficult conditions. His pragmatism and understated authority made him a model recording conductor, and Decca hired him to work with orchestras in several of their centres of activity.

Listen to finalist Uladzislau Khandohi as he performs in recital for The Sydney! Founded in 1977, The Sydney is held every four years and selects just 32 pianists aged 18-32 from across the globe, to compete for the coveted first prize. The Sydney's current Artistic Director is Piers Lane AO.

Born and raised in Vienna, Josef Krips trained as a choirboy and studied with Felix Weingartner, who then hired him as a repetiteur at the Volksoper. He his debut there in 1921, before graduating to the Vienna State Opera in 1933. In the aftermath of the Second World War, it was Krips above all who reformed and re-trained the State Opera as a world-class ensemble, and in the most difficult conditions. His pragmatism and understated authority made him a model recording conductor, and Decca hired him to work with orchestras in several of their centres of activity.

Rodion-Ladislau Rosca spent his lifetime creating music that was ambitious, groundbreaking and innovative. He was a pioneering composer, a talented multi-instrumentalist and producer. He pushed musical boundaries to their limits. This he did as a solo artist and with his group Rodion G.A.

Akropolis Reed Quintet, composer/pianist Pascal Le Boeuf, and drummer Christian Euman join forces on the electrifying album Are We Dreaming The Same Dream? Le Boeuf’s album-length composition examines what Ralph Ellison calls “the unity of American experience” by recognizing his musical ancestors — Geri Allen, Dave Brubeck, Charles Mingus, Bill T. Jones, and Leonard Bernstein. His composition asks: Are we really dreaming the same American dream, or is our consumer culture overshadowing our own sense of belonging?

After a first album, Take Off, released in 2018 by Jazz Family, the guitarist offers a new trio opus.

In medieval times, alchemy was a mystical pursuit based on a belief that gold could be created from common raw materials. It's an ancient practice, an idea that has long since been debunked by centuries of scientific evidence to the contrary. Or has it? Attempts to derive precious substances from lead or tin may have been dismissed by modern-day science as a fool's errand, but the belief that something of great value can come from something common persists. For drummer Stanton Moore, it's just a matter of finding the right groove.

Rodrigo: Concierto de Aranjuez, Op. 30; Castelnuovo-Tedesco: Concertino for Harp, Op. 93; Debussy: Danses sacrée et profane; Turina: Tema y variaciones, Op. 100.

Jorma Ludwik Kaukonen, Jr. is an American blues, folk, and rock guitarist, best known for his work with Jefferson Airplane, Hot Tuna, and his own bands. It was his first album on a major label since 1980's Barbeque King. Kaukonen didn't write any new compositions for the album, and instead played mostly country-blues cover songs. The album features performances by Sam Bush, Jerry Douglas, Byron House and Bela Fleck, and was nominated for a Grammy award in 2003 for "Best Traditional Folk Album".

Young pianist Martin Helmchen again shows his affinity for Schubert in this magnificent reading of the Trout Quintet. There are currently 90 listings of the Trout Quintet for the unusual combination of piano, string trio, and double bass. What distinguishes this one from most of the other eighty-nine is the coolly accomplished, no-nonsense approach of Helmchen and his mates. This is one of the most smoothly articulated accounts I have ever heard of this well-loved work. In the opening movement, marked Allegro vivace, the blend of the strings is ideal, especially in the pianissimo passages, when they are virtually muted. The tone of Tetzlaff’s violin at this moment is indescribably beautiful.

Here is yet another high-standard new addition to Ligia’s roster. Martin Gester has a wealth of all kinds of experience in the field of music. He comes back to the keyboard in the same way one returns from numerous trips, with one’s outlook enriched by accumulated know-how, focusing here on a preferred domain: the harpsichord which, after the organ, has become his main instrument. As it did for Bach, it has become the place where he “speaks” music instead of “playing” it or conducting it.

Recorded on 25 and 26 April 1991 at the Teatro Bulevar Casa de Cultura in Torrelones (Madrid) and originally released in October 1991, it was a respectful flamenco vision of Spanish classical music in a flamenco style. In it, Paco de Lucía performs with the Cadaqués Orchestra, conducted by Edmon Colomer, the concerto for guitar and orchestra that Joaquín Rodrigo wrote under the title Concierto de Aranjuez. To complete the album, he recorded with Juan Manuel Cañizares and Jose María Bandera three pieces, arranged by Juan Manuel Cañizares, from Isaac Albéniz's Suite Iberia. The result was absolutely devastating and is one of the best known and recognised versions of Maestro Rodrigo's masterful work.