Eduard Nápravník is hardly a household name, but he was one of the most important figures in nineteenth-century Russian music. As conductor of the Mariinsky Theatre—one of the finest opera houses in Europe, which became the Kirov Theatre—he worked with many of the most important composers of the day, including Tchaikovsky and ‘The Five’. He composed four operas, and many works in a range of genres, including four symphonies and the two works for piano and orchestra on this disc. His A minor Piano Concerto (1877) begins with a striking reference to the ‘Dies irae’ of Verdi’s Requiem, and is a work of tremendous energy and lyricism, with a nocturne-like slow movement and a dance-like finale. "Fantaisie russe (1881) is based on three Russian folk tunes, and is infectious in its melodic richness and thrilling in its virtuosity.

This commemoration of the 300th anniversary of the death of Biber is subtitled ‘In the midst of life we are in death’ and divided into ‘Vita’ and ‘Mors’. The ‘Life’ section consists of the Mass interspersed with all but two of the pieces by other composers listed above; ‘Death’ wraps the Praeludium and Lassus’s Media vita… round the Requiem.

Antwerp, around the middle of the 17th century. Music issues from an imposing house on the Meir. Inside the house, paintings by Rubens, Van Dyck, Brueghel, Vermeer and Tintoretto hang everywhere. A small but international group seated close to the fireplace is listening to a concert arranged especially for them. Francisca Duarte (1619-1678), who lives in the house, plays one of the many Ruckers-Couchet harpsichords and virginals owned by the Duarte family. She has chosen the music carefully: there are works from old collections of manuscripts compiled for and by the Duarte family, including music by John Bull and arrangements of dances and songs, as well as new repertoire by harpsichord virtuosos such as Jacques Champion de Chambonnières and Johann Jakob Froberger who have shared their recent compositions with the family.

Legendary German power metal band, Blind Guardian return with The God Machine, the band’s twelfth studio album and first ‘regular’ studio album in seven years, following Beyond the Red Mirror in 2015. The God Machine will be released on September 2nd, 2022 via Nuclear Blast.

With her road band laying the groundwork and with production responsibilities reverted primarily to her own hands, Raitt delivers varied and vivid performances throughout Silver Lining. Jon Cleary, an addition to the lineup, plays the pivotal role; his piano drives the steaming New Orleans groove on "Fool's Game," the posturing street funk of "Monkey Business," and the dusty blues tread on the acoustic-textured "No Gettin' Over You." The material, culled from American and African songwriters, along with a few Raitt originals, lends itself more to vocal interpretation than to straight-ahead blowing. Raitt's singing has never been more finely tuned, especially on the introspective title cut and on the final track, "Wounded Heart," a breathtaking duet recorded in one take with keyboardist Benmont Tench; after nailing it, Raitt reportedly fled the studio, moved to tears; any second attempt proved both undoable and unnecessary…

"Firescorched" is the fastest, highly experimental and most extreme album of Sadist's career. The songs are fresh, embrace blast beats and give away a horror vibe, in combination with gloomy and anguished lyrics. The band's adventurous style, featuring jazz and Middle-Eastern influences, pierces through a veil of progressive death metal that cloaks nine the new compositions.

A native of Ukraine, pianist Sophia Agranovich continues her superb series of recordings for Centaur Records. Internationally acclaimed soloist, chamber musician, recording artist and educator, Sophia Agranovich is “a bold, daring pianist in the tradition of the Golden Age Romantics…A tigress of the keyboard” – Fanfare. Her performances are captivating audiences by the “orison of uncommon beauty” – Audiophile, “interpretation that dares to be different”, “magnificent shading and superior musicianship” – American Record Guide. A Steinway Artist, Ms. Agranovich has performed in USA, Europe, Israel, and Canada. Recently she played solo recitals at the Pennautier Festival and Juan-les-Pins in France and was invited to China and Brazil. A six-time Grammy® balloted artist, Sophia Agranovich has released ten solo albums from 2010 through 2022, including seven on Centaur label.

A golden age is brought to life for us by sixty1strings on their new GENUIN album. Their unique instrumentation of mandolin, harp and guitar presents a thrilling programme of baroque music from Spain, Italy and France. Konstanze Kuß (Spanish baroque harp), Ekaterina Solovey (baroque mandolin) and Negin Habibi (baroque guitar) plunge into the sensual compositions by Antonio Vivaldi, Marin Marais and Domenico Scarlatti with enthusiasm and panache. Both original compositions and arrangements are performed, and the mandolin serves as a full-fledged, silvery-singing substitute for a diva in a hoop skirt and wig…

A Northern soul duo who recorded the single "Lifted" in 1995 but had to wait two years for it to become a hit, the Lighthouse Family was formed in Newcastle by vocalist Tunde Baiyewu and programmer/keyboard player Paul Tucker. Both had been born in London, though Baiyewu lived in Nigeria for ten years before returning to attend college in the north, where he met Tucker. The duo began recording, and though Baiyewu had trepidations about his vocal abilities, they recorded the singles "Ocean Drive" and "Lifted" during 1994-95 for Wild Card Records. Their debut album, also named Ocean Drive, was released in late 1995. It was almost two years later, however, that "Lifted" hit the top of the British charts, as well as those of several other European countries. The duo's second album, Postcards from Heaven, appeared later that year.

After recording Vivaldi's set of Violin Concertos 'La Stravaganza', Opus 4, in 2003, Rachel Podger has been immersed in music by Mozart and Bach on disc. But it has now felt right to come back to the Venetian Maestro, whose sense of drama she adores: “This time I chose his opus 9, the set of 12 Violin concertos entitled 'La Cetra'. There are plenty of jewels in this set, just as in 'La Stravaganza', with even higher technical demands made on the soloist including many, often exotic experimental effects.”

Rarely do we feel the presence of Bach so vividly on a recording as we do here with this set of Trio Sonata arrangements, performed by violins, viola da gamba, and harpsichord. What a perfect combination, thanks to Richard Boothby's settings and to the wonderfully synergistic interaction among these very experienced early music players–violinists Catherine Mackintosh (in her best recorded performance in a while) and Catherine Weiss, gambist Boothby, and harpsichordist Robert Woolley.