The deliciously erotic aspects of the text of the Song of Solomon inspired a great many composers during the 17th century, although it remains curious that even the strictest Lutheran composers could not resist setting it to music. The majority of Hammerschmidt's pieces on this text are written for soprano or tenor voices; these obviously represent the two protagonists, the beloved and the lover. This programme is built around these works, creating an entertainment — a small sacred opera —in which evocations of love or sensual dialogues are framed by dances and instrumental pieces. Works by Andreas Hammerschmidt, Johann Vierdanck, Dieterich Buxtehude, Thomas Strutz and others.

This album presents orchestral works by three French composers who saw Spain as a paradise of warmth, fragrance and colour, whether real or imagined. From the vivid evocations of Debussy’s Images and Ibert’s Escales, to the dances and landscapes that inspired Ravel’s Rapsodie espagnole, these masterpieces of Impressionism show the considerable impact Spanish culture had on French composers in the early 20th century.

Many U2 albums experience a difficult birth, but their 13th studio record underwent a particularly extended labor. Gestating for years, possibly started immediately after 2009's No Line on the Horizon and ushered into existence by many midwives, Songs of Innocence appeared suddenly in September 2014, nearly nine months after "Invisible," the presumptive lead single for the record, flopped. "Invisible" is nowhere to be found on Songs of Innocence, yet its vaguely electronic thrum did indeed turn out to be a taste of where U2 were headed after those endless sessions wound up shepherded by Danger Mouse. Songs of Innocence – its title taken from William Blake, although many music nerds may first think of David Axelrod – does indeed incorporate electronic elements in a way no U2 album since Pop has, weaving samples, loops, and other flourishes within music that otherwise adheres to the self-conscious classicism that has been the band's stock in trade since Y2K. Which is another way of saying that where the U2 of the '90s looked forward, the 2014 U2 are looking back, aware of a legacy that includes decades of arena-filling anthems, the deliberate reinvention of Achtung Baby, and their initial inspiration from the great spark of punk rock.

Cilla Black Who was the second biggest-selling music star to come out of Liverpool after the Beatles? It wasn't Gerry & the Pacemakers or Billy J. Kramer & the Dakotas, nor was it the Searchers. It was Cilla Black, a onetime coat-check girl from the Cavern Club who was still learning to sing with confidence, forget developing a technique, just about the time that the Beatles were cutting their first EMI record. Cilla Black holds a unique position in the history of pop music, and the British Invasion. As Brian Epstein's discovery and protégée, she was the first and only important female performer to emerge from Liverpool in the heyday of the British beat boom. In conjunction with Epstein's management and George Martin's production skills, she became a formidable ballad singer, her hits lasting longer than any Epstein clients other than the Beatles.

Crosby, Stills & Nash's eponymous debut album marks the point where rock music transitions from the heady explorations of the 1960s into the burnished self-reflections of the '70s. Upon its release in 1969, the album ushered in a new era, one where revolutions turned inward as the music got quieter and softer, creating a soundtrack for a generation easing into adulthood. Maturation looms large in the collective work of David Crosby, Stephen Stills, and Graham Nash, who were occasionally joined by Stills' former Buffalo Springfield bandmate Neil Young, who was added to help fill out the band's sound as they headed out on tour that wound up shattering all previous records for ticket sales. CSN(&Y) made music for grown-ups during their '70s heyday, an aesthetic that eventually evolved from folk-rock into adult contemporary pop in the '80s. The transition wasn't necessarily smooth.

The Moody Blues With the release of 1967's Days of Future Passed, the Moody Blues left behind their R&B origins and emerged as pioneers of Britain's emerging art rock sound. A richly imagined concept album that fused classical music with rock, Days of Future Passed arrived less than six months after the Beatles' Sgt. Pepper's Lonely Hearts Club Band to an audience already primed to embrace such a progressive work. What's more, it was a hit on both sides of the Atlantic thanks to its dreamy singles "Nights in White Satin" and "Tuesday Afternoon," establishing the Moodies as both a commercially viable and deeply creative unit. Over subsequent releases like 1968's In Search of the Lost Chord and 1969's On the Threshold of a Dream, they developed into a five-man orchestra of rock mystics, creating music that was challenging enough to please the psychedelic crowd, but still accessible to mainstream radio listeners.

Available for the first time on vinyl is the complete OLYMPIA THEATRE, PARIS, FRANCE 5/3/72 show from the Grateful Dead’s legendary Europe ‘72 Tour. 6-LP, 180-Gram, Limited Edition of 10,000 worldwide.

Cleverly paired with two symphonies by C.P.E. Bach – written in 1755/56 and 1775/76 respectively – Beethoven’s first two contributions to the symphonic genre reveal the bubbling creativity of a thirty-year-old composer determined to go even further in the renewal of the genre than another, very recent reference, Mozart’s ‘Jupiter’. So much is clear from the very first chord of his Symphony no.1! Relive this decisive moment in the company of the musicians of the Akademie für Alte Musik Berlin, under the guidance of their Konzertmeister Bernhard Forck.

Johann Joachim Quantz, in his handbook for transverse flute written in 1752, wrote of the composer Georg Philipp Telemann: “I wish to especially recommend Telemann’s trios written in the French style, many of which he had already fashioned thirty or more years ago.” Georg Philipp Telemann not only gained the admiration of Quantz, but his pieces are still frequently performed and recorded today. For this album, his Concerto di camera in G minor, Double Concertos in A minor and E minor, and Suite in A minor have been recorded. Performing these timeless works are three outstanding period instrumentalists, Bolette Roed, Reiko Ichise, and Alexis Kossenko.

It is a familiar fact that Antonio Vivaldi was a prime mover in the creation of the solo concerto, but what is less well known is that he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part, intended for what we nowadays would call a string orchestra with continuo. As Vivaldi expert Michael Talbot explains in his informative liner notes, these works are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music. It is not known when Vivaldi started to write them, but most of the almost fifty concertos probably originate from the 1720s and 1730s. .

An extraordinary, constantly inventive composer, free of all constraints, like a new Gesualdo. After Monteverdi, here is the last revolutionary of the in- cendiary seconda prattica, in a programme exalting by turns profane love and sacred desire, performed by an outstanding cast of singers.

Marin Marais, the most outstanding composer for the viola da gamba, was a master in the writing of so-called Pièces de Caractère, in which he called upon the most diverse subjects for inspiration: La Désolée (the desolate), La Guitare, Feste Champêtre (country fair), Le Tableau de l’Opération de la Taille (a description of a gallstone operation!) and so on. The choice of 'Images' in Marais’ five books of Pièces de violes is endless. A program full of worship, grandeur and sadness.

A lavish package celebrating the myriad bumps, bruises, and highlights of the Stranglers' earliest and best, the boastfully titled Old Testament is a four-CD set (five, in some editions) that spans the group's first six albums (up to 1981's La Folie), also including a number of non-LP singles and B-sides. (Physical editions of the box also contain an exhaustive – if blindly…er, boastful – 112-page book, which makes the package all the more attractive for longtime fans who have long since hunter-gathered the rarities.) It would be a major gamble to make this your first Stranglers purchase, especially due to the 1997 release of The Hit Men, which runs through the band's stylistically varied singles and doesn't indulge too much in the Stranglers' lengthy deterioration phase(s). They were productive from 1977-1981, discounting the number of album tracks that really shouldn't have seen the light of day. Make no mistake, nearly every good thing they did can be found within these four discs, save for the odd later hit like 1984's soft rock gem "Skin Deep." The 80-plus songs on The Old Testament definitely prove the Stranglers to be worthy of a box set.

Sade's fourth album, Love Deluxe, included the hit "No Ordinary Love" and marked a return to the detached cool jazz backing and even icier vocals that made her debut album a sensation. Although Sade's style is more suggestive than hypnotic and her production and arrangements are in an urbane mode rather than a jazz one, she maintained her popularity among the fusion and urban contemporary audiences. This release also includes "Mermaid," "Pearls," and "Feel No Pain."

Released by the EMI-licensed Petrol imprint as part of the Seriously Good Music series, this 12-track collection of modern Gypsy music is as intoxicating as it is devilish. From the traditional sounds of Esma Redzepova ("Abre Ramce") to the dub-heavy pulse of Balkan Beat Box ("Bulgarian Chicks"), this is one of the best entries in the series and a worthy introduction for anyone looking to get a grip on one of the world's most playful, sensual, spooky, and dramatic genres. –James Christopher Monger