Hollywood Bowl, Los Angeles, Ca. September 3rd, 1965.

Glassworks is a chamber music work of six movements by Philip Glass. Following his larger-scale concert and stage works, it was Glass's successful attempt to create a more pop-oriented "Walkman-suitable" work, with considerably shorter and more accessible pieces written for the recording studio. Glassworks was intended to introduce my music to a more general audience than had been familiar with it up to then. -Philip Glass

“This album is us appreciating how amazing this thing we have is. The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It’s not about any of us individually. When we all work together to make something happen, something bigger happens.” - Jono, Paavo and Tony – Above & Beyond. If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album ‘Bigger Than All Of Us’ is best summed up in one word: reconnection.

Colin Hay became a household name as the front-man for 80s pop sensation Men at Work, and his musical legacy has extended for over 40 years. Man At Work Volume 2 is the sequel to his 2002 best seller Man At Work and offers fans an impeccable set of favorites from across Hay's rich catalog, including Men at Work classics, solo album highlights, and new material.

The much-anticipated follow-up to LA-based singer-songwriter Natalie Bergman’s critically acclaimed 2021 solo debut album ‘Mercy’. Since then, Bergman (previously of successful brother-sister duo Wild Belle) has released the high-streaming EP ‘Keep Those Teardrops From Falling’, along with a collaboration with Beck. Her new album 'My Home is Not in This World' channels psychedelic soul and alt-'60s pop, and is brimming with unforgettable melodies that only an artist as uniquely talented as Bergman could conjure.

In 1998 an article appeared in The Times claiming the non-existence of talent. Just as the eminent psychologist R.D. Laing explained that ‘schizophrenia’ was a fabricated term for an analysable condition, so the Times writer stressed that talent was a fancy description for hard work. For him the success of a musical star – he took the violinist Anne-Sophie Mutter as his example – had more to do with perspiration than inspiration.

This album pays tribute to the singular world of Valentin Silvestrov, a composer whose music gently reaches out to the past while also resonating with the voices of such contemporaries as Leonid Hrabovsky, Alexander Knaifel, Arvo Pärt, and Andre Volkonsky.

One of the greatest pieces of sacred music in history, in one of its legendary versions, in a brand-new high-resolution remastering restoring it to its original glory: what more could you ask for? Carlo Maria Giulini’s 1978 rendition of Mozart’s Requiem is a milestone of the discography, all at once solemn and grandiose, thanks to a Philharmonia Chorus at the peak of its powers. It features one of the most iconic quartets of vocal soloists with Helen Donath, Christa Ludwig, Robert Tear and Robert Lloyd!

For more than 20 years, the Classic 100 has been one of the most anticipated events on the Australian classical music calendar: a chance for music-lovers across the country to nominate the music that means the most to them. This year’s theme is the piano: from solo gems all the way to concertos with a full orchestra, from music fallen in love with during piano lessons to virtuoso concert showpieces, this is a celebration of all the sounds and colours of one of Australia’s favourite instruments.

For the new album Circling From Above, their 3rd since 2017 and their 18th studio album is a masterclass in songwriting and their timeless ability to fuse prog-rock technicality with sing a long anthems. The 13 songs on Circling From Above were written by Tommy Shaw, Lawarence Gowan and Will Evankovich. Evankovich also produced the album. Leading with Build and Destroy, Styx take a close look at the near future and what is circling above us, from satellites to birds.

Fletcher has built a one-of-a-kind legacy on speaking her truth in exhilarating detail. She returns with her highly anticipated third studio album Would You Still Love Me If You Really Knew Me?. It marks a pivotal moment in her journey as one of pop music’s most essential queer voices – ultimately adding a whole new layer of depth and resonance to her truly singular artistry.

The violin, a bowed instrument with four strings, of such perfection that it has focussed the attention of composers from the Baroque to the present day. Apart from the piano, no other instrument has had so many important concertos written for it, from Locatelli and Vivaldi, to Bach, Mozart, Beethoven and Brahms, among many others. It might seem unimaginable that this instrument with its one bow on four strings be able to perform polyphonic works from the piano, Lied and orchestral repertoire unaccompanied, but that is precisely what the great virtuosos of the early Romantic period right up to the modern era repeatedly saw as a challenge in their compositions.

Shakespeare's illustrious prose is inextricably linked with the music that was performed in his plays. The Bard frequently directed his characters to burst into song, cannily catering to the vast audiences who flocked to the Globe Theatre, expecting to enjoy the popular melodies of the day that were interwoven throughout the narrative. English novelist and biographer Peter Ackroyd remarked, "It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre."

The fact that Niels Wilhelm Gade became famous as a composer primarily for his symphonic and concertante music is probably one of the reasons why his piano music, despite being widely published in print during his lifetime, has been relegated to the shadows. Marie-Luise Bodendorff presents a selection of Gade's piano works here, which makes it clear that we should revise our image of Gade.

The program of the CD with the Swiss pianist Gabiz Reichert with works by Schumann, Rachmaninoff and others presents itself as a unity of three parts: Images that convey different facets of the principle of return. They are all inspired by various influences that defy conventional interpretation, as the pianist explains in an accompanying text.