Recorded to mark the 90th birthday of Arvo Pärt, this album valuably anthologises the Estonian composer’s piano music. The Latvian pianist Georgijs Osokins is an infallibly empathetic guide to these often visionary pieces. In the opening work, Für Alina, Pärt’s trademark tintinnabuli (bell-like) effects are mesmerically registered, while tenderness suffuses Osokins’ solicitous account of Variations for the Healing of Arinushka. Passages of Lisztian brilliance and chant-like eloquence sit cheek by jowl in Osokins' arrangement of Fratres, one of Pärt’s best-known pieces.

Ghostly choirs, wild desires, unwavering loyalty, a gruesome act of murder and the eternal victory of love that overcomes death: These are the thoroughly familiar ingredients of the libretto that Ethel Smyth wrote (in German) for her one-act play "Der Wald". The music, however, is anything but gruesome. Echoes of Robert Schumann, some striking reminiscences of Richard Wagner and, especially in the prologue, an unmistakable touch of Art Nouveau flickering carry the drama, which premiered at the Berlin Court Opera on April 9, 1902, was subsequently staged at the Royal Opera House in London and presented with triumphant success at the New York Met in March 1903. There were ovations and a veritable sea of flowers for the then 44-year-old Englishwoman, who was the first of her sex to conquer the classical temple of the Muses on Broadway with her work. Talent can do anything.

Five years younger than Johann Sebastian Bach, who outlived him by a whole eight months, Gottfried Heinrich Stölzel also belonged to that circle of central German musicians who were able to make a melodious name for themselves beyond their regional sphere of influence. It is no coincidence that the sacred works of the long-time court conductor of Gotha have found a representative home in our catalog. The passions, oratorios and cantatas that have already been published are now joined by five pieces of Protestant service music in which the extensive Catholic liturgy is reduced to Kyrie and Gloria: the missae breves selected here confirm once again that their author was "one of those reasonable, learned and great composers" to whom Johann Mattheson gave a proper place in his "Ehrenpforte" in 1740 for good reason. Everyone was entitled to know that.

Anyone who calls an organ piece a "Grande Pièce Symphonique" should not be surprised if this very title one day serves as a yardstick to determine the legitimacy of the attribute. This is exactly what the organist, composer and pedagogue Zsigmond Szathmáry did at the instigation of his young colleague Christian Schmitt when he examined César Franck's "great symphonic piece" for its orchestral possibilities. The result of this examination brings us the world premiere of a concert piece in which the queen of instruments and her personified registers, i.e. the orchestra, form a captivating synthesis. Via Franck's well-known tone poem "Les Éolides" ("The Daughters of Aeolus"), the program finally leads to a discographic rarity by Charles-Marie Widor - a "Walpurgis Night" that easily rivals the most famous witches' dances in Romantic literature.

Marvin Earl Johnson (October 15, 1938 – May 16, 1993)[2] was an American R&B singer, songwriter and pianist.

Malcolm Earl "Mal" Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from college.

Maria Cole (née Hawkins; August 1, 1922 – July 10, 2012) was an American jazz singer and the wife of singer Nat King Cole; mother of the singer Natalie Cole.

There is something quite ephemeral and special about the prepared piano – it’s mostly to do with how every instrument responds differently to these treatments but also that it’s not very exact, even if, in the case of Cage, is quite precise. His instructions seem quite prescriptive: although, unless you know actually piano model he was using and the objects he was talking about, you’re always making adjustments.

Maine country musician Dick Curless cemented his place in country music with his 1965 hit "A Tombstone Every Mile."

Potro De Rabia Y Miel from 1992 was the last studio album by Spanish singer Camarón de la Isla before his death. The cover art is by painter Miquel Barceló, the arrangements are by Juan Albert Amargos and Jose Más "Kitflus," and the production is by Paco De Lucía. It also features collaborations with Tomatito, Carles Benavent, and Ramón El Portugués, among others. The album features tangos, tanguillos, bulerías, and a taranta, all recorded with the harsh reality of the onset of the illness that caused his death and all the difficulties that entailed.

Georges Arvanitas (June 13, 1931 – September 25, 2005) was a French jazz pianist and organist.
He was born in Marseille, a child of Greek immigrants from Constantinople.

Released in 1983 with Paco de Lucía, Tomatito on second guitar, and Rubem Dantas and Raimundo Amador on percussion. The title refers to the Calle Real in Cádiz where Camarón spent so much time.

In 1974, José Monge Cruz and Francisco Sánchez Gómez released their sixth full-length album, which has not failed to feature one every year since 1969. It is a title that still sounds fresh and in which they continue to insist on the perfection of the harmonies and the personal style with which they interpret tangos, fandangos, alegrías, etc.

Bossa Breeze" from various artists is a delightful collection of authentic bossa nova tracks. Let these light-hearted and breezy tunes transport you straight to the sun-soaked beaches of Brazil.

Son tus ojos dos estrellas is the third album by this great singer. It was recorded and released in 1971. The lyrics are by Antonio Sánchez and Paco de Lucía.