Two CDs. First-ever complete anthology of hugely collectable early 70s Italian psych/folk/prog band. Heavily influenced by early Jefferson Airplane with lead female vocals and English language lyrics. Fronted by Grace Slick-influenced singer Silvana Aliotta, Circus 2000 formed in Turin, north Italy in late 1969 in an attempt to emulate their British and American psychedelic heroes. They made their vinyl debut a year later with a self-titled album featuring such superb, quasi-mystical songs as 'Magic Bean', 'The Lord, He Has No Hands' and the dramatic 'I Am The Witch'. But the band struggled to find an audience, their guitar-led, song-based nature and English language vocals leaving them out of step with the complex, keyboard-based Italian progressive scene flourishing all around them. After developing a more improvisational, underground-friendly sound on the thriving Italian festival circuit, they returned with a second album, 'An Escape From A Box'. Now regarded by European psychedelic collectors as their masterpiece, this five-track album welded their original Jefferson Airplane leanings with expansive Pink Floyd-esque arrangements that peaked on Side Two with the epic 'Need' and the spooked, climactic closer 'When The Sun Refuses To Shine'. Unable to make a commercial impact, the band broke up shortly afterwards, and it would be a couple of decades before Circus 2000's music began to receive the attention that it deserved.

RossoPorpora made its Arcana debut with an album dedicated to Luca Marenzio, which received widespread critical acclaim, including the German Record Critics' Award, Classic Voice’s Disc of the Month, a Diapason rating of 5, and five-star reviews from Musica and Amadeus. It was described as “magnificent” by Early Music Review and hailed as “a desert island disc” by Forum Opéra. Now, with its second album, the ensemble turns to one of the cornerstones of 17th-century music: Claudio Monteverdi’s Sixth Book of Madrigals. In a deeply immersive exploration of the composer’s inner world during his final years in Mantua, RossoPorpora delivers a profoundly moving interpretation of the many masterpieces contained in the collection—Lamento d’Arianna, Lagrime d’Amante sul sepolcro dell’Amata, Zefiro torna, Oimè ’l bel viso, Qui rise o Tirsi—which together mark one of the highest achievements in the history of the madrigal.

Urban Jazz Grooves - Smooth Sounds For The City.

Elena Firsova and Dmitri Smirnov formed an extraordinary composing couple who spent almost half a century of creative life together as wife and husband. They met and fell in love while studying at the Moscow Conservatoire, and from the start, they shared a passion for the arts and the world around them. As young composers, Smirnov and Firsova’s music was heard in “unofficial” concerts outside the USSR, away from the judgmental ears of the Union of Soviet Composers.

FLEETWOOD MAC comes with Dolby Atmos, 5.1, and Stereo mixes. Recently certified 9X Platinum, the band's first album to include Stevie Nicks and Lindsey Buckingham includes the hits “Landslide," "Say You Love Me," "Rhiannon" & More.

The Hobbit is a 1977 American animated musical television special created by Rankin/Bass and animated by Topcraft. The film is an adaptation of the 1937 book of the same name by J. R. R. Tolkien; it was first broadcast on NBC in the United States on Sunday, November 27, 1977. The teleplay won a Peabody Award; the film received a Christopher Award. The New York Times found the film "curiously eclectic", but felt that whatever its failings, it warranted attention. The Tolkien scholar Douglas A. Anderson called the adaptation "execrable"; the author Baird Searles called it an "abomination" and an attempt that had "failed miserably", regretting the quality of the animation and of the soundtrack, and the omission of key plot points.

In September 2025 Fretwork return with an album of works for Viol by the John Jenkins. Jenkins was a highly active and productive composer who lived through a period of significant transformation in English music, with his lifetime spanning from the era of William Byrd to that of Henry Purcell. He is particularly known for his contributions to the viol consort fantasia, drawing inspiration in the 1630s from a previous generation of English composers such as Alfonso Ferrabosco the Younger, Thomas Lupo, and Orlando Gibbons. His work is distinguished by its rich lyricism, exceptional craftsmanship, and a unique approach to tonality and counterpoint.

Mozart died barely 11 months after completing his final piano concerto, No. 27, in January 1791. It’s one of the composer’s most serene concertos, full of wit and beauty, with a piano part that eschews technical difficulty for songlike elegance. Whether, as has been suggested over the years, the piece contains hints of a man resigned to his fate, doesn’t matter. Mozart was at the height of his inventive powers, and the piece is treated here to a performance of lightness and grace by a team of musicians determined never to overstate and risk romanticizing Mozart’s sublime utterings. Even when Mozart veers into minor-key territory, the storm clouds dissipate almost as soon as they gather. Franz Welser-Möst is a master at navigating these mood changes, coaxing exquisite subtleties of phrasing from his Cleveland forces, both stepping aside for and complementing Garrick Ohlsson’s honest playing, itself devoid of histrionics.

Das Aalborg Symphony Orchestra unter Henrik Vagn Christensen präsentiert hier Königlich-Dänische Konzerte für Blechbläser von Thorvald Hansen (1847-1915), Mogens Andresen (*1945) sowie die Bearbeitung einer Flötensonate von Morten Raehs (1702- 1766) im Stile von Maurice André. Hervorragende Solisten bringen die vorgestellten Werke zum Strahlen und garantieren ein wahrhaft königliches Vergnügen!

There are moments like that: On the path to your own destiny, you meet one of the greats and everything is suddenly - completely different. For the young Robert Kahn, this moment came when he met Johannes Brahms in 1886. The Hanseatic composer was evidently able to set a number of sympathetic strings vibrating in the young man from Mannheim. The result was an oeuvre in which the chamber music, from duo to quintet, often strikes a note that we know from his role model: Without ever copying his mentor, Kahn thrives on full-bodiedness and opulent voice leading, which gives the three piano quartets in particular chamber-symphonic dimensions. The spirited transparency of the Serenade for string trio from 1933, in which the music world congratulated Johannes Brahms on his 100th birthday, stands alongside this. Robert Kahn is not afraid to occasionally take the master at his word.

Each Mosaic project falls into at least one of three categories. Some sets we know will be significant because of the demand for a hard-to-find jazz artist or the unique scope of a Mosaic box. Some sets we bring out because, popular or not, the music must be heard. And sometimes… we just love it. Want it. Have to have it. Which brings us to The Complete Dial Masters. As the saying goes, check all the boxes. As most jazz fans know, among the most important records to hear in your life are Charlie Parker's Dial Sessions, recorded between 1946 and 1947. They are classics with Dizzy Gillespie, Miles Davis, Howard McGee, Wardell Gray, J. J. Johnson, Duke Jordan, Teddy Edwards, Teddy Wilson, Errol Garner, Tommy Potter, Max Roach and others. But Dial was way more than Parker. It was a microcosm of the explosive changes happening at a moment in time. And we have everything. Every master, every important alternate, and many intriguing false starts, on nine CDs. The set was only previously collected in Japan 20 years ago. Now it's available worldwide at last, if you hurry.

Following her internationally acclaimed and multi-award-winning 2023 debut, Rising Sun, pianist Shuteen Erdenebaatar returns with Under the Same Stars—an exquisite duo album with the rising ACT Music artist Nils Kugelmann on contra-alto clarinet and upright bass. Meditative, romantic, and daring, this duo paints poetic miniatures with strokes of jazz, classical, and cinematic music. Alto Recorder and Mongolian horsehead fiddle features add soulful mystery.

Joseph Swensen conducts Beethoven’s Ninth Symphony with an inner fire that grips all those who have attended one of his concerts; for him it is Beethoven’s ultimate achievement, a celebration of humanity —not the romantic hero, but the truly ordinary individual, musically represented by the chorus. Beethoven begins his epic symphony in the darkness of primordial chaos. The first and second movements are visions of the universe before humanity. The third movement is a celestial dream. The beginning of the finale is our awakening. Beethoven wanted Ode to Joy to be a melody that all can sing. This chorus, a realisation in sound of the ideals of the 18th-century Enlightenment, is neither transcendent, divine, perfect nor impeccable. It is humanity singing of its joy!

Since the creation of their ensemble La Néréide in 2019, the three sopranos Camille Allérat, Julie Roset and Ana Vieira Leite have wanted to tell stories about women, women who are courageous, vulnerable, passionate, powerful, secretive — and sometimes all of these at once. Le Cœur et la Raison imagines the fate of a young noblewoman sent to the Demoiselles de Saint-Cyr, where she received a meticulous education, particularly in music; she took part in services and sang works by its organist Louis-Nicolas Clérambault (1676-1749) — including his magnificent Miserere — and by Jean-François Lalouette (1651-1728), a pupil of Lully. When she returned to her family, however, she sang the melodies of fashionable court airs, which she then shared with her fellow students at Saint-Cyr, to the great disapproval of the religious authorities. She and her colleagues then rewrote the song texts transforming the declarations of love into statements of faith. Today, these three friends and artists present an emotionally charged programme, accompanied by a first-rate instrumental trio.

For the first time anywhere, the Complete Commodore & Decca Eddie Condon & Bud Freeman Sessions. A substantial set - eight CDs containing 199 tracks in all. The set spans the years 1938, when Chicago-style jazz first took root in New York, through 1950. These sessions were recorded in New York City at the Brunswick Studios on 1776 Broadway; the Decca Studios on 50 West 57th Street; Liederkranz Hall at 111 E. 58th Street; Reeves Sound Studios on 304 E. 44th Street; WOR Studios on 1440 Broadway; and at the World Broadcasting System, 711 5th Avenue. It's the most extensive collection you will find showcasing this style, from two of its leading proponents – music that became known as Nicksieland Jazz after Nick's Tavern in Greenwich Village, the popular haunt that was home to this music from the time these tracks were recorded. In the interests of being as complete as humanly possible, Mosaics searched out every available LP and 78 from collector sources to augment what exists in the record label vaults, then painstakingly and lovingly transferred them using state-of-the-art 24-bit digital technology. We can confidently assure you, you've never heard them sound this good.