Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector with vocals like Roy Orbison's, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio. He loved rock & roll, whether it was the initial blast from the '50s or the mini-symphonies from the days before the Beatles or the garage rockers that surfaced in the wake of the British Invasion, and all this could be heard within his wild, wooly collective E Street Band, a group who debuted on his second album, 1973's The Wild, The Innocent & The E Street Shuffle, and who would support him throughout most of his career.

With their crisp melodies, Pete Shelley's biting lyrics, and Shelley's and Steve Diggle's driving guitars, Buzzcocks were one of the most influential bands to emerge in the initial wave of British punk rock. Largely eschewing politics, they instead brought an intense, brilliant vigor to the three-minute pop song, powered by Shelley's alternately funny and anguished lyrics about adolescence and love, backed by melodies and hooks that were concise and memorable.

The violin concerto The Wandering of a Little Soul was a mere unfinished project of Leoš Janáček (1854–1928). In May 1926, when he returned from an official visit to England, where his Sonata for Violin and Piano was played by the excellent violinist Adila Fachiri, he was impressed by her performance and considered composing a violin concerto, which he called “The Wandering of a Little Soul”. However, he soon abandoned the work in progress and put the manuscript score aside. It is a mysterious composition about which we know very little. Janáček later used parts of this concerto in the overture to the opera From the House of the Dead, and it is interesting that already in the score of the violin concerto we find the banging of the prison shackles – as if a prelude to the next opera. The reconstruction of this composition was performed by Miloš Štědroň and Leoš Faltus.

18th-century sonatas by a pair of musical brothers, in stylish historically informed performances from 1994.Very little music by the brothers Groneman is known in modern times beyond the pieces on this album, which have survived simply because of their popularity with flautists of their day. Pleasing both to hear and to play, these sonatas exert an additional fascination today for the insights they give into the taste and technique of the 18th-century flautist.

The Juilliard String Quartet was founded in 1946 by William Schuman, who was the president of the Juilliard School in New York. The original members of the quartet were violinists Robert Mann and Robert Koff, violist Raphael Hillyer, and cellist Arthur Winograd. The members of the quartet have changed a number of times over the course of the ensemble's career, but after more than 50 years of performances and recordings, the Juilliard Quartet has remained one of the most famous and well-respected string quartets in the world. The Juilliard Quartet was born out of a need for committed performances of modern music and for a revitalized approach to the standard string quartet repertoire.

A diverse survey of Mozart’s ‘occasional’ music, including his grandest serenade as well as one of his earliest and strangest works, alongside two late and powerful masterpieces.The ‘Posthorn’ Serenade of Mozart has been recorded on many occasions, but perhaps never with such stimulating and contrasted couplings as this new recording from the Czech Chamber Philharmonic Orchestra Pardubice under their Armenian music director, Vahan Mardirossian. These forces recently made an attractive album of Mozart’s ‘Lodron’ divertimenti (97307); now they turn to the grandest of the serenades which Mozart composed while still in the service of the Prince Archbishop of Salzburg.

Dan Deacon is am award winning composer, recording artist, and performer. Deacon's work in film and television scoring includes projects for major studios and outlets including Netflix, Disney, AppleTV, PBS, ESPN, and HBO. Deacon's score for Jessica Kingdon's Oscar-nominated documentary Ascension won the Outstanding Achievement in Original Music Score award at the 2022 Cinema Eye Honors. His albums Spiderman of the Rings and Bromst were named Best New Music by Pitchfork.

Gun A hard-rocking Glaswegian band, Gun first came to public attention in 1989 with their striking single "Better Days," its powerful, driving thrash rock stopping just short of the U.K. Top 30. "Better Days," along with its follow-up "Money," formed part of their first album, Taking on the World. As ever, there were the usual rock band lineup changes during Gun's recording history: two guitarists and two drummers passed through, the nucleus being vocalist Mark Rankin and brothers Giuliano and Dante Gizzi (guitar and bass, respectively).

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s,

From their beginnings in 2016 Merton College's Girl Choristers have gone from strength to strength. For their second recording they bring together a collection of much-loved hymns, celebrating a tradition that has enriched Christian worship for hundreds of years.

Williams has appeared for Welsh National Opera, Opera Ireland and Music Theatre Wales amongst others, and has released numerous recordings, most notably of music by contemporary Welsh composers, including Alun Hoddinott, William Mathias and Mansel Thomas. In addition to these he has also given premieres of works by composers John Tavener, Martin Butler, John Metcalf, Julian Phillips, Edward Dudley Hughes, Ian Wilson, Richard Causton, Edward Rushton, Arlene Sierra and Huw Watkins. In 2019 he became President of the Incorporated Society of Musicians (ISM).

Janna Gandelman is the concertmaster of the Jerusalem Symphony Orchestra.She is a Professor of Violin at the Buchman Mehta School of Music at Tel Aviv University and teaches at the Jerusalem Conservatory of Music. At the age of 5, she started to play the violin, taking lessons with Professor Weiner. At a very young age, she has won numerous competitions still in the Soviet Union, National Violin Competition, Stoliarsky School Competition, International competition of USSR, and Auer Competition.After immigration to Israel in 1979, she continued her studies with the legendary violin pedagogue, Professor Bondarenko, David Oistrach's assistant. Janna plays on Nicolas Lupot violin from 1799, loaned generously by the Yehuda Zisapel Foundation.

Ibrahim Maalouf is a major figure in contemporary jazz, crossover classical music, and film composition. Among the most heralded trumpeters of his generation, his fusions of pop, soul, electro, hip-hop, French chanson, and the traditional music of his Lebanese heritage has resulted in more than two-dozen acclaimed albums and original scores for more than 20 films. Maalouf is also a noted collaborator who has performed and recorded with artists including Sting, Vanessa Paradis, and Jon Batiste.

Powerwolf One of Germany's leading metal bands, Powerwolf combine high-speed guitar work and thundering drums with forceful vocals and dark fantasy themes – the Roman Catholic church, werewolves, and vampires are frequent topics. Emerging in 2005, the band's first taste of success came with the release of their third long-player, Bible of the Beast, but it was their 2013 Napalm Records debut, Preachers of the Night, that helped place them at the fore of the German metal scene. The band continued to spin gold both at home and abroad with subsequent efforts like Blessed & Possessed (2015),

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.