Named after the Japanese word for chameleon, Susan Wong’s twelfth album Kamereon highlights the Hong Kong-born singer’s unerring ability to bring a fresh, new complexion to a wide range of songs taken from different musical genres. Aided by her producer, the Osaka-born saxophonist Hisatsugu Suzuki, and his band, Wong has created a stylish jazz album brimming with her trademark soulful vocals drizzled over syncopated grooves.

The sincerity and at the same time emotionality of Anton Bruckner's musical thoughts create an inimitable magnetism that makes one "forget" time in the very best sense of the word. Anyone who wants to approach Bruckner only analytically will find their mind boggled, especially at the first encounter. His great power is a certain "transcendental charm" that is common to all his symphonies.

The pairing of the two works on this album is unique in that one comes from the dawn, the other from the dusk of Ludwig van Beethoven’s career. Indeed, whereas the composer wrote the Quintet for winds and piano , Op. 16 when he was only 26 – the talented young man also excelled as a successful pianist –, he did not finish his String Quartet, Op. 130, until a year before his death. The Edding quartet proposes here the original version of the work, with the Grosse Fuge , op.133, as final. The direct comparison of these two works on the same disc intelligently sheds light on the fantastic distance the composer covered between these two points in time.

This release concludes the critically acclaimed series of Jir¡ Belohl vek's last recordings of Czech masterworks for Decca Classics before he passed away in 2017. The album features Dvor k's Requiem (with star soloists including Ailyn Perez) as well as new additions to the Decca catalog, the composer's Biblical Songs and Te Deum.

“This album presents the core of the violin repertoire – Beethoven's Violin Concerto and Kreutzer Sonata,” says Nemanja Radulović. While these Beethoven masterpieces have been recorded countless times, Radulović’s approach to each of them has an element of innovation. For the concerto, he has expanded Double Sens, the chamber ensemble he founded in 2008. “I wanted to retain the special character of Double Sens as an ensemble which plays without a conductor and explores new ways of interpretation … In our recording of the concerto, we wanted to convey a range of emotions – courage, risk, joy, love, rage, sadness, nostalgia, and magical serenity and tenderness.”

Wexford has long been the home of lost operatic causes that speedily become winners. Giovanni Pacini’s Saffo is a good example. Widely acclaimed in its time (establishing itself as a favourite in North as well as South America), the opera gradually disappeared from view, as did the composer himself. Yet he wrote over 80 operas, and Saffo is generally considered his masterpiece: the first fully ripened fruit of a period, nearly five years long, of retirement from composition, during which he studied, thought and prepared. It appeared in 1840, the year of Donizetti’s La fille du regiment and La favorite, both of them written for the opera in Paris.

The influential critic Karl Flodin commented after the première of Sibelius’ Second Symphony, 'A symphonic poem the like of Sibelius’ Second Symphony has never been heard before, it’s something rarely heard in the genre of modern symphony. The more you listen to this brilliant work, the more powerful its contours seem, the deeper its soul appears and the more striking become the clues which hint at an understanding of this composition'. Oehms Classics has found the perfect partners for this recording in Dmitrij Kitajenko and the Gürzenich Orchestra Cologne, whom have paired it delightfully with two short pieces by Edvard Grieg.

Une intégrale de la musique pour guitare de Robert de Visée, par le guitariste canadien David Jacques, spécialiste en musique ancienne, sur une guitare cinq chœurs Claude Guibord, d’après un model Stradivarius de 1700.

Challenging all those who long ago dismissed them as second-rate and painfully cheesy Teutonic power-thrashers, Rage inaugurate their 18th studio album, Speak of the Dead, with an ambitious, 25-minute song suite subtitled "Lingua Mortis." OK. Get ready for this, though: it's actually very entertaining! Part symphonic orchestration, part Spanish guitar austerity, part organ-driven progressive rock in the style of '70s legends Kansas and, obviously, part heavy metal at its most over-the-top dramatic (and, sure, just a little cheesy, in true Rage tradition), the magnum opus' multiple compositional dimensions are, at the very least, unexpected, and at most, a whole new avenue of expression for the group - who knew…

In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues,” “No Expectations” and a cover of “Everybody Needs Somebody To Love,” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.

By 1977 Journey had reached a creative crossroads, with three underwhelming studio albums under their belt and little to show in the way of commercial success. At the prodding of manager Herbie Herbert, who felt a major shakeup was needed in order to reignite their spark, the band was convinced to audition and eventually recruit the services of former Alien Project vocalist Steve Perry. Sure enough, adding him to the band just prior to the sessions for Infinity proved to be a stroke of genius, and a move that undeniably altered the course of history for the fledging Bay Area act. Released in January of 1978, Infinity easily proved to be the band's most cohesive work to date. Dead and buried were the jazz fusion overtones of previous offerings, and with the new songwriting combo of Perry/Neal Schon leading the march, the band set out to completely redefine their sound…

This incredibly light, fun, and surprisingly hip three-CD collection featured by Ella Fitzgerald, Peggy Lee, Billie Holiday, Sarah Vaughan, Django Reinhardt, Chet Baker, Dave Brubeck, Miles Davis, Thelonious Monk, Lee Morgan and many more.

A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots. "Owner of a Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points, but there's nary a duff track on the album.