For its first recording for BIS Records, the Marmen Quartet tackles three major works from the twentieth-century string quartet literature. The two quartets by György Ligeti belong to two different periods in the composer’s output. Written before Ligeti left Hungary and emigrated to the West, the First, subtitled ‘Métamorphoses nocturnes’, represents the peak of his ‘Hungarian’ period. Regarded as a virtuoso exercise, the work reveals the influences of Béla Bartók, particularly from his Third and Fourth Quartets.

Gilels had immense physical power and impeccable control, but he was also capable of exquisitely refined poetry and had an acute perception of the lyrical impulse lying behind even the most assertive of Brahms's writing. The firmness of attack and the depth of sound that make his (and the Berlin Philharmonic's) playing so thrillingly dynamic can be offset by the most poignant of delicate gestures. There is undeniable grandeur to these readings, but with those additional qualities of wise thinking, generous expression and artistry of great subtlety, these performances are in a class of their own.

Forty-five years into the band's career, the seemingly straightforward numerical system Chicago follow to title their albums has gotten confusing. Their 2014 offering Now: Chicago XXXVI is clearly their 36th record but it is only their 23rd studio album and, to muddle matters more, it is their first collection of brand-new original material since Chicago XXX in 2006 (the 2008 release of Chicago XXXII: Stone of Sisyphus doesn't really count, as that was initially scheduled for release in 1994, which would've made it Chicago XXII or so). Hence, the decision to put "Now" in front of Chicago XXXVI instead of behind: it emphasizes that this record showcases the band in the present, not the past. That Chicago's Now sounds tethered to the Chicago of the early '80s is neither here nor there…

Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party – "Party" is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan.

Karajan reportedly felt so strongly about his recordings of the Second Viennese School that he agreed to finance them himself when DG balked at picking up the tab. These are great performances, to be sure. Indeed, there may be some others that are comparable, but none are superior. The Berg pieces never have sounded so decadently beautiful, nor the Webern so passionately intense, or the Schoenberg so, well, just plain listenable. The Berlin Philharmonic strings make their usual luscious sounds, but here the winds, brass, and even percussion rise to the occasion as well. And sonically these were always some of Karajan's best efforts. Essential, then, and a perfect way to get to know these three composers on a single disc.

Produced by wunderkind producer Mark Wirtz (Tomorrow, the mythical Teenage Opera, and guy who decided not to produce Syd Barrett era Floyd), and co-written by Kris Ife who called on his old bandmates from The Quiet Five for these studio creations. Most of these pieces of psychedelic bubble gum were packed as The Matchmakers, some chipper chiclets were initially issued under monikers such as Astronaut Alan & The Planets (“Fickle Lizzie Anne,” “Cellophane Mary Jane”), and The Guards (“Fantastic Fair”). This final pack of bubble blowers were finally issued together in 1970 by Vogue Schallplatten in Germany and a few other territories shortly after.