Kimatika, the 3rd album by the Slovenian audio-visual trio Etceteral, is a visceral plunge into the raw undercurrents of futuristic jazz, motoric propulsion, free improv and elastic compositions.

Composing music for pictures is about the same as setting a text to music or expressing a poetic-lyrical idea: it is about looking “behind the façade” of a situation, capturing the spiritual and psychological aspects behind a situation or thing. Good and independent film music is never just an external description and duplication of the image: it must capture the essence, the “right vibration”, touch the deep inner core of an invisible world that remains hidden to the visual eye, which is only focused on the external.

Concerto Koln goes on a journey of discovery in their next album and contrasts the famous composer Johann Sebastian Bach with the today unknown Johann Adolph Scheibe\u200B - two rivals featured sharing a first name but apart from that, their life, work and subsequent reception could not be more different, even though their paths crossed when they were alive. The Concerto Koln is accompanied by the excellent soprano Marie Sophie Pollak\u200B on this album, which alternates instrumental and vocal works by the two composers.

This is the debut album of an outstanding baroque violinist coming from the renowned Schola Cantorum Basiliensis. The recording is the fruit of an in-depth scholar work, of a virtuoso violinist accompanied by a raising star of the harpsichord - to which the expertise of a top sound engineer and producer is added. The release contains a selection of the sonatas drawn from Pisendel's library, the best of Italian and German violin schools, and includes world premiere recordings.

Rome 1839, Palazzo Poli: one of Liszts Roman concerts has gained significance in the history of music. A prominent audience of high ecclesiastical and secular dignitaries listened to Liszts performances. Strangely enough, it was at this concert that Liszt took the risk of introducing a new type of program, as he decided for the first time to dispense with the participation of other artists and to conduct the evening entirely on his own. This was the first solo piano recital or, as Liszt jokingly put it: The first of my boring musical monologues, which I now want to give everywhere in future. Le Concert cest moi! This album by Kateryna Titova presents live recordings as well as recordings made as part of an eponymous exhibition at the museum at Liszts birthplace Raiding, featuring, among others, the so-called Dante Sonata, Liebestrume Nos. 2 & 3, two Paganini tudes as well as the first Mephisto Waltz.

Mr. Motaba 2025 Live - Na Hora do Play Session Temporada 2 com Sandro Haick, Marcus Cesar e Guilherme Canaes.

Brunö Lapin's restless, mysterious, and intimate music draws less on contemporary jazz than on the intimate sound of classical chamber music and the rhythmic foundations of African musical cultures. The overlap with the musicians of Space Galvachers and L'Arbre Rouge is no accident: the album expands the line of French chamber jazz that has been an important part of the BMC Records catalog.

Born in Naples in 1903, Mario Pilati belonged to the generation which included such disparate personalities as Petrassi, Dallapiccola, Salviucci, Rieti, Mortari, Scelsi and Rota. Pilati was a prolific composer of chamber, vocal and orchestral music. Like many of his contemporaries, he was drawn to the instrumental music of the past, especially that of his own country.

Recorded live at Bostons magnificent Symphony Hall, CORO brings together on one album the Handel and Haydn Societys recordings of Haydns early Symphonies Nos. 6, 7 & 8. Known as Le matin, Le midi and Le soir, the three works, written shortly after Haydn joined the court of Prince Paul Anton Esterhzy, are amongst the most striking of the composers early symphonies. Characterised by unusual virtuoso writing across the orchestral ensemble, all three works feature extensive solo passages for the wind, horn and strings, including rare solo writing for thedouble bassandbassoon, and demonstrate Haydn's emerging skill as a master of symphonic writing.

NYC bass player Neal Minor's new album on Cellar Music entitled 'Invisibility'. Featuring songs composed by Minor, inspired by jazz from the 1950s into the 1960s, and by musicians such as Charlie Parker, Dizzy Gillespie, Kenny Dorham, Horace Silver, Benny Golson, Art Farmer, Lucky Thompson, Tommy Flanagan, Barry Harris, and bassist-composers like Ray Brown, Red Mitchell, Paul Chambers, Oscar Pettiford, and Sam Jones.

When one glances at the list of compositions by Johann Sebastian Bach (1685-1750), one realizes that his instrumental output, particularly that for orchestra or chamber ensemble, is very small. The thematic catalogue of his works lists some 1,080 entries. Of these, one-half comprises sacred vocal and/or choral music, and one-quarter comprises solo organ music.

There is a spirit that passes through all the folkloric music of the world. The sounds may differ from region to region and from people to people, but folk music holds deep truths that speak to the connective tissue of humanity. There is something mysteriously universal in the way peasants or, for that matter, jazz musicians approach music.

There is a spirit that passes through all the folkloric music of the world. The sounds may differ from region to region and from people to people, but folk music holds deep truths that speak to the connective tissue of humanity. There is something mysteriously universal in the way peasants or, for that matter, jazz musicians approach music.

First ever CD and wide vinyl release of Rochester, NY’s New Math's lost 1984 album. This long-lost final release from the cult post-punk outfit New Math is now remastered and widely available.

In the 20th century, composers Erik Satie, Francis Poulenc, and John Cage each created a pause in music—a caesura—by exploring life’s contrasts: the noise of the outside world and the quiet of inner reflection. Satie balanced cabaret flair with meditative stillness. Poulenc exposed the cabaret’s charm and underlying despair before turning to sacred music. Cage broke with tradition, using experimental simplicity to draw listeners inward and awaken deeper listening.