Creedence Clearwater Revisited is an American rock band formed in 1995 by bassist Stu Cook and drummer Doug "Cosmo" Clifford, former members of Creedence Clearwater Revival, to play live versions of that band's music. With original members, Stu Clifford And Doug Cook, Creedence has been touring non-stop during the past decades playing their hits all over the world. This wonderfully recorded concert captures the band at it's classic best.

Kalevi Aho is one of today’s most prolific composers of large-scale orchestral scores, including 17 symphonies and 32 concertos to date. Less well-known is the fact that he has also written chamber music, as well as an ever-expanding series of solo pieces – starting with Solo I for violin from 1975, the most recent in the series, for clavichord, is the 17th. Some of these pieces has originated as part of Aho’s preparations when composing a concerto for the instrument in question, while others have been written for competitions, including Solo III for flute and Solo IV for cello on the present disc.

A contemporary of Lully and Lalande, Marc-Antoine Charpentier (1643-1704) was something of an outsider to the French court of Louis XIV, which helps to explain his comparative obscurity. A period of study in Rome doubtless gave Charpentier exposure to the polychoral style long-established from the time of Gabrieli, and this recording presents the triple-choir Salve Regina alongside the opulent Messe à quatre chœurs – written for four separate choirs, with a large continuo team of four organs, four theorbos, bass viol and great bass viol! The possibilities opened up by such a wealth of musicians engender music which seems as close to the proverbial “choir of the angels of heaven” as could be desired.

‘An excellent record, beautifully played, splendidly recorded, in every way highly rewarding’ (Gramophone)

A friend of mine once likened a particularly metronomic performance of Beethoven’s Appassionata to a man being pursued by hornets. I don’t know who’s pursuing Fazil Say in the first movement, but the pianist either sounds as if he’s fleeing the very same hornets or, most probably, an irate music critic. Say tears through the movement without modifying his fleet basic tempo, yet he somehow conveys the drama and disquiet implied by Beethoven’s frequent dynamic changes, abetted by added bass-note octaves (measures 130-33). However, the Andante con moto is not so much about a unified set of variations as it is about Fazil Say the interpretive graffiti artist.

Nolwenn makes us rediscover the best songs from her native Brittany, already etched in our collective memory, by blending pop tones and traditional instruments. Surrounded by Jon Kelly and other great musicians from England, Scotland and Ireland, Nolwenn brings out the Celtic soul of the inland region she loves so much, revisiting melodies from yesterday and today. A return to basics Nolwenn was planning for several years, this intensely personal album already lies in timelessness.

Carl Czerny found a continuing source of inspiration in the music of his teacher Beethoven, even after he had established himself with a series of influential pedagogic works, piano exercises and studies. His works for piano trio show a flair for vivacious themes and unusual rhythms, such as the Spanish bolero in the second of the Deux Trios brillants, Op. 211 as well as opportunities for brilliant display, notably for the pianist. The Trois Sonatines, Op. 104 are equally lively, showing a transitional style that bridges the period from Mozart to Liszt.

If you're someone who enjoys eating dessert first – or for that matter just eating dessert and skipping the rest of the meal – then this album is likely to satisfy you. Jan Vogler's admittedly highly personal selection of short works for cello and chamber orchestra is filled with many of the syrupy, sometimes saccharin standards of the cello repertoire.