The German composer Johann Gottlieb Naumann is mostly known for his operas. One of them, Gustav Wasa, which he composed in Sweden in 1786 and which he considered his best work, even became a Swedish national opera. This recording shows a lesser known aspect of Naumann's output: his sacred compositions. It contains three works: a large-scale cantata and two short pieces, which are much more modest in scoring and style.

The Silesian Quartet sprang to international attention with it's award-winning recordings of chamber music by Grazyna Bacewicz. It's latest project - the complete quartets of Penderecki - was started in 2012, but not completed until January 2021. Presented chronologically, the works on the album take us on a journey from Penderecki's early avant-garde 'sonoristic' style of the 1960s - the first and second quartets - to the later neo-romantic style of the third and fourth quartets, composed in 2008 and 2016 respectively. Of all Penderecki's output, the Quartet for Clarinet and String Trio shows the strongest links to the chamber music of the nineteenth century. Penderecki was inspired to write the piece by the 1992 recording by the Emerson String Quartet and Mstislav Rostropovich of Schubert's String Quintet in C major, D 956. Here the Silesian Quartet is joined by the clarinetist Piotr Szymyslik.

Long-standing progressive extreme metal quartet, Destrage return with their incomparable and signature style on their sixth full-length offering and debut for 3DOT Recordings, SO MUCH. too much. Out on September 23rd, 2022.

The soundtrack to Woody Allen's 2011 Oscar-nominated romantic comedy Midnight in Paris features a variety of jazz tunes and popular songs that are all generally associated with the film's 1920s Paris setting. While Allen actually transports his movie's main character back to the '20s, most of the music here was recorded by contemporary artists who play in an old-school style. To these ends, we get such roiling and urbane Gypsy jazz tracks as Swing 41's "Je Suis Seul Ce Soir," Original Paris Swing's "Recado," and even several Cole Porter vocal numbers by Conal Fowkes – who appears as Porter in the film. Also featured are jaunty classic jazz cuts like Josephine Baker's conga dance number "La Conga Blicoti" and, of course, Sydney Bechet's "Si Tu Vois Ma Mère," which opens the film. Swooning and romantic in tone with a breezy, swinging jazz vibe throughout, the Midnight in Paris soundtrack is a must-have souvenir for traditional jazz lovers and any fan of the film.

Hoechan Lee’s sensitive renditions of the Romantic repertoire have made him one of Korea’s fastest rising cellists. His takes on classics by Franz Schubert as well as Robert and Clara Schumann are like letters to his audience – telling a personal story between two continents and his love for the music uniting them.

Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaire'"), commonly known simply as Pierrot lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated into German by Otto Erich Hartleben. The work is written for reciter (voice-type unspecified in the score, but traditionally performed by a soprano) who delivers the poems in the Sprechstimme style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not employ Schoenberg's twelve-tone technique, which he did not use until 1921.

Brett Deubner's collection of contemporary classical solo viola pieces by Judith Markovich, Polina Nazaykinskaya, Andrew List, Maurizio Bignone and Tommie Haglund was captured at Birs Recordings new world-class studio in Orange NJ, mixed by 30-year recording veteran David Kerzner, and mastered by industry legend Scott Hull.

Neil Arthur and Stephen Luscombe started experimenting with tape loops and kitchen utensils, before discovering electronics and developing into one of the definitive chart-topping British electronic pop acts of the 1980s.

Teaming together Dizzy Gillespie and Roy Eldridge should result in some classic music, but by 1975, Eldridge (although still a fierce competitor) was past his prime and Gillespie was starting to fade. The material performed for this CD reissue is just not all that inspiring - a few overly played standards and blues. Despite some good efforts by Gillespie and Eldridge, pianist Oscar Peterson easily emerges as the most impressive soloist; better to acquire the magnificent collaborations of the 1950s instead.

Taking full advantage of his 30 years experience crafting music in harmony with the rhythm of nature, Gandalf presents a grand celebration in tribute “to the wonderful variety and beauty of the universe" with Earthsong and Stardance. Masterfully blending his customary sounds with the Corso Wien Orchestra and a Sanskrit choir, the whole truly blurs the boundaries between earth and the stars.