These lively, idiomatic and sometimes witty performances show CPE Bach’s harpsichord songs, early precursors of the Romantic Lied, to be far more than museum pieces, from the Three Different Attempts at a Single Song for Hexameters through to a Fantasy in C minor with Hamlet’s Monologue.

The perfect case of a pianist who sounds completely relaxed in the studio and, because of that, manages to balance assertiveness and poetry in ideal proportions. Gerhard Oppitz is a penetrating Brahmsian, bracing in the youthful works, quietly confiding in the later ones.

Ma rencontre avec la musique de Charpentier remonte à mes années d'études aux Etats-Unis, au cours desquelles mes professeurs avaient l'habitude de parler de cette musique et de la montrer. J'ai ainsi découvert le "Reniement de Saint-Pierre" dans une anthologie de musique religieuse…Je me souviens aussi avoir entendu du Charpentier chanté en traduction anglaise, parfois aussi en latin par certains chœurs de paroisses protestantes. C'est là que j'ai pris connaissance de la "Pastorale sur la naissance de Notre Seigneur Jésus-Christ".William Christie

Following a rapturously received sell-out run at the Edinburgh Fringe, Oliver Darley and virtuosic pianist, Chad Lelong will be releasing their hugely-anticipated debut album, The Seat With The Clearest View, through London-based jazz label Lateralize Records.

Chris Brown's 'Boy In Detention' is a fusion of R&B and hip-hop, showcasing his vocal range and emotional depth. The album features a mix of upbeat tracks and soulful ballads, highlighting Brown's versatility as an artist. With collaborations from notable artists, the album offers a fresh and exciting sound. Overall, 'Boy In Detention' is a compelling addition to Chris Brown's discography, solidifying his position in the music industry.

Daniel Lopatin reclaims the uncanny sorcery of 'Garden of Delete' on 'Again', evanescing divergent styles into an unashamedly pompous roil of vapor-damaged harpsichord twangs, bombastic synth-prog workouts, damaged emo-pop, computer-controlled avant minimalism and fractal ambience. He's back.

Hiss Golden Messenger’s Quietly Blowing It was written and arranged by M.C. Taylor in his home studio—his 8’ × 10’ sanctuary packed floor to ceiling with books, records, and old guitars—as he watched the chaotic world spin outside his window. Between March and June 2020, Taylor wrote and recorded upwards of two dozen songs—in most cases playing all of the instruments himself—before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road.

With Hourglass, Antibalas returns to its instrumental roots. Previous albums featured lyrics that addressed topics like patriarchy, climate change, militarism, late stage capitalism, oligarchy, white ethnonationalism, and the genocide of Native Americans. In this album the group rearticulates these themes, however speaking through melody and rhythm. “Once a song has lyrics, everyone who doesnʼt speak that language is on the outside. We use rhythm and melody to translate the emotions in the album and make it universally accessible,” explains the co-producer/founder Martín Perna.

The anonymous melody L homme arme was widely used in 15th and 16th century Europe and served composers as structural and melodic inspiration for their masses. The reason for its enduring popularity is not really known, but its catchy melody and atmospheric, martial theme were clearly appreciated by composers from Dufay to Carissimi. The English vocal ensemble De Profundis continues its Morales project with two very different but equally exquisite masses to this melody, alongside its spectacular Magnificat secundi toni.

Diminution, or the substitution of a large musical value with an equivalent quantity of smaller values, is a practice that can be traced back to numerous treatises of the 16th and 17th centuries. These treatises teach this technique through the presentation of numerous diminished passages and examples of entire musical pieces. The treatise by Christoph Bernhard (1628-1692) is one of the most valuable sources for understanding the art of diminution in 17th-century Italy. He writes “The manner of singing passeggiato or alla Lombarda is a manner in which one does not remain on the notes that are encountered, but rather changes them with diminutions or coloraturas. (…) Diminution is when a note, in the correct respect of the beat, is divided; that is, a note that is worth half a beat is divided into four fuse, 8 semifuse, or 16 subsemifuse, without remaining fixed on the note but in an elegant manner running over it.” This recording aims to be a tribute to this artistic technique, which marks an important step in the development of instrumental music for the violin and a testing ground for composers to experiment with new writing techniques.

Simone says of this release “Perspectives is not just a title, it’s an invitation to look, and to listen, from new angles. It’s a journey through and beyond music, a space where different visions coexist, intertwining without ever cancelling each other out. Each piece is born from a glance, an experience, a shared silence. In recent years, playing around the world, from China to Japan, and across the United States, has deeply transformed the way I listen, write, and feel. Concerts, places, and the people I met along the way have enriched my human and musical journey, leaving traces that naturally surface in these compositions. Sharing this music with two extraordinary souls like John Patitucci and Antonio Cerfeda has been a rare gift. Together, we’ve built a deep dialogue, shaped by intuition, listening, and freedom. Our perspectives met in sound, without ever trying to overshadow one another, like a collection of moments, open questions, and gazes searching for essence in the nuances. An album that doesn’t claim to offer answers, but invites you to open your eyes. And your ears”.

Man on Fire is the original score for the eponymous seven-episode Netflix action thriller that premiered on April 30, 2026. Showrunner Kyle Killen adapted A.J. Quinnell's 1980 novel, with Yahya Abdul-Mateen II starring as John Creasy — a Special Forces mercenary haunted by PTSD who embarks on a path of revenge across the streets of Rio de Janeiro.
Max Aruj is a Los Angeles-based composer and USC Thornton School of Music graduate who honed his craft under Hans Zimmer, Lorne Balfe, and Rupert Gregson-Williams, contributing to Top Gun: Maverick, Mission: Impossible – Fallout, and Black Widow before stepping out as a lead composer. Man on Fire represents his most ambitious solo television assignment to date.

Shostakovich’s Sixth and Ninth Symphonies stand as sharply contrasting yet deeply connected reflections of a century scarred by violence, fear, and forced optimism.

Join three of the most talented young musicians around as they revel in the opulence of fin de sièce Romanticism. Schoenberg’s Verklärte Nacht is most familiar in its arrangement for string orchestra; here, the texture of piano trio serves only to intensify the raw emotion of Richard Dehmel’s tale of trust broken and won. It is performed alongside Tchaikovsky’s heartfelt elegy to Nikolai Rubinstein.

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,