It is not known when Handel composed his keyboard works. A number of them probably date from his youth in Germany. His teacher Friedrich Wilhelm Zachow is known to have owned a large collection of German and Italian keyboard music. And French music was well known in Germany when Handel lived there. So the very fact that Handel’s suites show a wide range of influences – German, Italian and French – doesn’t necessarily mean that they were written after his stay in Italy. At the same time it is likely that some of his keyboard works were written after his arrival in England. It is suggested that some of them were used for keyboard lessons.

Bernstein opera sets come few and far between, but those that do emerge are treated as isolated landmarks. Such was his recording of Richard Strauss` ''Der Rosenkavalier'' of 1971 (CBS M3K 42564, three CDs), recorded three years after he virtually swept the Viennese off their collective feet with it at the Staatsoper.

Giacomo Facco (4 February 1676 – 16 February 1753) was an Italian Baroque violinist, conductor and composer. One of the most famous Italian composers of his day, he was completely forgotten until 1962, when his work was discovered by composer, conductor, and musicologist Uberto Zanolli.

George Harrison's albums have been notoriously uneven, but despite the rough patches, his talent for songcraft never really left him, as the compilation The Best of Dark Horse (1976-1989) proves. A 15-song retrospective covering five albums, The Best of Dark Horse contains nearly every gem from 33 1/3, George Harrison, Somewhere in England, Gone Troppo, and Cloud Nine, including "Crackerbox Palace," "All Those Years Ago," "Got My Mind Set on You," "Cloud 9," "When We Was Fab," and the lovely "Blow Away." For most casual fans, the record will be a welcome summation of a hit-and-miss era of Harrison's career.

Canadian conductor Yannick Nézet-Séguin leads the London Philharmonic Orchestra and Choir in a luminous, expansive performance of Brahms' German Requiem recorded live in 2009, during Nézet-Séguin's first season as the orchestra's principal guest conductor. The conductor's conception is notable for creating a sense of breadth and serenity while maintaining a purposefulness and momentum that never allow the long lines to sag; it's a beautifully executed balancing act that allows the work to unfold with the spaciousness and grandeur it needs to make its maximum impact.

Time Clocks slowly comes into focus after the short atmospheric instrumental "Pilgrimage" sets the stage for a moody, cinematic record. In its brief minute, Joe Bonamassa plays a fat, melodic phrase that sounds uncannily like David Gilmour, a tone and aesthetic he'll return to throughout Time Clocks. Other blues and classic rock greats are alluded to on the album – the winding riff propelling "Notches" harkens back to Peter Green-era Fleetwood Mac, Clapton is always lurking around the corner – but at this stage of his career Bonamassa is a stylist, tying together recognizable influences into something distinctively his own. Here, he's leaning toward somber introspection, filtering his musings on life and society through a Pink Floyd prism.

This CD contains selections from a triumphant Japanese tour which saw three-fourths of the original lineup augmented by such guest stars as guitarists Barry Finnerty and Roland Bautista, percussionist Rafael Cruz, and bassist Alphonso Johnson. But the interaction and contributions of Joe Sample, Wilton Felder, and Stix Hooper make this memorable, plus the fact that this is the first time the complete concert has ever been available on a domestic release. It's really a "greatest-hits live" CD, with such familiar numbers as "Spiral," "Rainbow Seeker," "So Far Away" and "Put It Where You Want It" part of the menu. While not in the class of such classic releases as 1, Scratch, or Second Crusade, this is still a welcome addition to the legacy of a sorely underrated group.

Stevie Nicks' fourth solo album received more than its share of negative reviews from rock critics, who seemed to mistake her poetic and not always terribly discernible lyrics for pretentiousness. Although not as strong as Nicks' three previous solo dates, The Other Side of the Mirror is a decent album that has many more pluses than minuses. While there are a few less-than-memorable moments, some of the songs – including "Long Way to Go," "Ghosts," and "Whole Lotta Trouble" – are fairly strong. Nicks' more devoted followers will want this album, which should be purchased only if one already has Bella Donna, The Wild Heart, and Rock a Little.

The dictionary definition of "pastiche" is an artistic composition imitating or caricaturing previous works, so given the lack of homegrown material here, it is hard to say what the Manhattan Transfer meant by this title. In any case, this assortment of odds and ends from various eras in American music – recorded in New York, Los Angeles, Nashville and Australia – finds the Transfer casting its lines in search of a direction that it had yet to find. But there are signs that they were getting close. The Transfer's stunning rendition of "Four Brothers," with composer Jimmy Giuffre present in the sax section, marks the beginning of their championing of the words of Jon Hendricks and placed the Transfer in position to claim the long-vacant throne of group vocalese. Otherwise, there are curiosities like a quasi-C&W-tinted rendition of "Love for Sale" staffed by some of Nashville's finest…and a few fair covers of rock and R&B numbers…

Since 2008, Adele has allowed listeners to peek into her world, carrying them through the major stages of her life as a shoulder to cry on and a relatable presence. With her fourth set, 30, she grants more access than ever before, detailing one of her most painful seasons with poise and grace. Charting the aftermath of her 2019 divorce, 30 is not a fiery breakup album. Rather, focusing on acceptance, growth, and owning her mistakes, she's created a time capsule for her son, Angelo, to understand what his mother was going through at this pivotal time. After the curtains part on the dramatic, Judy Garland-inspired overture "Strangers by Nature," she addresses the split with "Easy on Me," redirecting her focus as a plea for patience and understanding from her son. "My Little Love" interpolates their intimate conversations atop smoky R&B production that echoes early-2000s Alicia Keys.

The last three symphonies remain for many listeners the ultimate expression of musical romanticism. Their gorgeous tunes, luscious orchestration, and huge emotional range tempt many interpreters to extremes of musical excess– but not Igor Markevitch. These brilliantly played, exceptionally precise performances let the hysteria speak for itself, while focusing on the music's architectural strength. The results are uncommonly exciting, supple, and above all sensitive to the music's many beauties. Having withstood the test of time, and at two discs for the price of one, this might very well be a first choice for newcomers and collectors alike. Excellent recorded sound too.

The 21st century saw Tony Joe White resume his recording and performing career, and experience a resurgence of critical interest in his older music as well. Since 2002, "the Swamp Fox" has recorded sporadically for his own Swamp imprint, and also had his back catalog remastered and reissued. Earlier in 2010, Rhino Handmade made available That On the Road Look, a previously unreleased live date. The Shine is a (mostly) low-key, basic affair. White wrote or co-wrote everything here with his wife, Leann. The band is a quintet: White plays guitars and harmonica with drummer Jack Bruno, cellist John Catchings, bassist George Hawkins, and Tyson Rogers on piano, organ, and Wurlitzer. The sound is warm and raw; the album feels like it was cut mostly live from the floor (with guitar and vocal overdubs added) and it's full of natural atmospherics. White's acoustic nylon-string guitar is prevalent, sometimes more so than his quavering, downright spooky baritone. His electric six-string work paints the backdrop.

Una donna per amico (A woman as friend) is an album by the Italian singer and songwriter Lucio Battisti. It was released in December 1978 by Numero Uno. The album was Italy's fourth best-selling album in 1978. It appears at 3rd place in the 100 greatest Italian albums of all time list published in 2012 by Italian edition of Rolling Stone magazine.