Vivaldi, the Venetian, master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately-recognisable sensibility, the expressiveness, the inimitable colours and an unbeatable talent to say so much in just a few notes.

Twin Barrels Burning is the twelfth studio album by British rock band Wishbone Ash. It was recorded at Sol Studios and released in 1982. It was the highest charting Wishbone Ash album in years, reaching No. 22 in the UK Albums Chart. Conversely, it was the final album to appear in that listing to date. It is the only Wishbone Ash album to feature Uriah Heep bassist Trevor Bolder, who was a member of the band for three years (1981–83).

Raw to the Bone is the 13th album by rock band Wishbone Ash. Like its predecessor, Twin Barrels Burning, it is one of the band's heaviest records, capitalising on the popular new wave of British heavy metal that Wishbone Ash had helped influence. It is the only Wishbone Ash album to feature Mervyn Spence on bass and vocals. It is also the last album with guitarist/vocalist Laurie Wisefield, who ended his eleven-year stint with Wishbone Ash after the release of this album.

The members of Cinquecento turn to perhaps the pre-eminent composer of the sixteenth century: Giovanni Pierluigi da Palestrina. Settings of the Lamentations of Jeremiah would have been integral to the liturgical rites of Holy Week: here is one of the most sublime.

Vivaldi, the Venetian: master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately recognizable sensibility, the expressiveness, the inimitable colors and an unbeatable talent to say so much in just a few notes. The contralto Delphine Galou (who recently won a Gramophone Award, one of the most prestigious awards in the classical music world) and Ottavio Dantone's Accademia Bizantina have created two recitals of sacred music and of opera that illustrate the incomparable richness of Vivaldi’s body of work and establish the emotional connections between the two repertoires.

A Bath Full of Ecstasy is a fresh, invigorating and essential new chapter in Hot Chip's career, taking in their huge breadth of influence and melody as only Hot Chip can. You can hear the pleasure the band had in creating this album and they want to pass on that feeling to the listener. It is time to get lost in A Bath Full of Ecstasy.

After 4 years of work on their 11th release for ReR, this extraordinary, reclusive, and highly individual audio-visual collective continues to evolve through the painstaking accumulation and disposition of a seemingly incompatible range of both exotic and familiar musical languages, instruments, techniques and studio manipulations into one of the few genuinely original bands at work today. It took a long time to refine their unique process of composition to this level of ambiguity and depth and newcomers will wonder how they strayed so far from orthodoxy and yet managed to retain a lucidity and transparency that is quite rare in contemporary music.

Karajan was a great Tchaikovsky conductor. Although he recorded the last three symphonies many times he did not turn to the first three until the end of the 1970s. There’s no doubt that the reason these early symphonies sound so fresh is because the Berlin orchestra was not over-familiar with them. The Tchaikovsky symphonies were recorded at the Philharmonie between October 1975 and February 1979 and are presented with their Slavonic March and the Capriccio Italien, both recorded in Jesus-Christus-Kirche in October 1966. The six symphonies span the whole of Tchaikovsky’s career as a composer, from 1866 until 1893, the year of his death.

Alba's album Brahms IV Segerstam concludes the series of symphonies by Johannes Brahms and Leif Segerstam. The last album of the four-part series includes Brahms' fourth symphony and the symphony number 295 composed by Segerstam in memory of conductor Ulf Söderblom. In his symphony "ulFSöDErBlom in Memoriam …" Segerstam plays with the name of the conductor, which includes the notes F, S, D, E and B. Brahms' fourth symphony was his last, and according to Segerstam, "the beginning of the symphony can be used to explain how music is born."

A groundbreaking collection of studies by one of the 19th century’s leading keyboard lions. By the early 1830s, the celebrated virtuoso Friedrich Wilhelm Michael Kalkbrenner was at the height of his pianistic powers. It was at this time that Chopin moved to Paris and found Kalkbrenner to be the finest pianist he had heard: ‘Herz, Liszt and Hiller are all zeros next to Kalkbrenner.’

There are very few classic rock vocalists that you recognize after hearing just a few notes. The legendary Dan McCafferty, the former front man of Scottish rockers NAZARETH, is one of those vocalists. After nearly 50 years of road work with the band, McCafferty had to retire due to health reasons. However, that unique instrument — his voice — is still capable of blowing the roof off. With 15 tracks, "Last Testament" is a blistering album with a full mix of lyrical and musical styles. It arrives on October 18 via earMUSIC. There are out-and-out rockers, like "My Baby" and "Bring It On Back", for example. But at the core of this release is a newfound freedom to explore avenues of creativity.

Unlike either its predecessor Alone in the Universe or 2001's Zoom, From out of Nowhere didn't appear after a prolonged period of silence from Jeff Lynne's ELO. It arrived in November of 2019, nearly exactly four years after Alone in the Universe, a rapid turnaround that recalls Lynne's work schedule as a bandleader and producer in the 1970s and '80s. That's not the only way From out of Nowhere conjures memories of the past. From the spaceship hovering on its record cover to the song title "Sci-Fi Woman" stirring up the ghost of "Evil Woman," the album is designed to sound and feel like an Electric Light Orchestra album from the late 1970s.