This isn't French violinist Renaud Capuçon's first outing as a concert soloist; he has released a recording of concertos by Mendelssohn and Schumann, and a disc of concerted works by French composers. This is his first recording of concertos by Mozart, though, and it is as successful as his previous releases. Capuçon's lean tone, lyrical approach, subtle vibrato, and supple phrasing are ideal for Mozart's First and Third concertos, and his ardent but elegant interpretations are virtually perfect. As in his other recordings, Capuçon's playing is both completely in the style of the works and still wholly individualistic, particularly in the cadenzas, which have a sense of improvisatory freedom that entirely suits them.

Denkt man an die Musik des Barock, fallen einem als erstes Namen wie Monteverdi, Vivaldi und Bach ein. Eine Musik, pompös und lebenslustig. Schaut man hingegen auf die Englische Musik dieser Zeit, findet man einen sehr beschaulichen, fast miditativen Stiel vor. Dies verdichtet sich vor allem in der Harfenmusik am englischen Hof. Lawrence-King interpretiert diese Musik mit der nötigen Andacht und vergisst dabei weder die melancholischen Farben der keltischen Ursprünge, noch die Festliche Stimmung eines barocken Hofes.

The second half of an epic recording session Mississippi John Hurt cut for the Library of Congress on July 15th-23rd, 1963 (the first half is available on D.C. BLUES–THE LIBRARY OF CONGRESS RECORDINGS VOL. 1), VOL. 2 reveals all the delights of this legendary bluesman. Though his most essential recordings were waxed in the late '20s for OKeh, Hurt's complex, fleet fingerpicking style and gentle, conversational singing were little diminished when the artist was "rediscovered" during the folk and blues revival of the '60s. Over two discs and 37 tracks, Hurt delivers versions of some of his best-known songs ("Nobody's Dirty Business," Stackolee"), spirituals ("Will the Circle Be Unbroken"), and popular songs ("You Are My Sunshine"). Hurt's soothing, pleasant style of rural blues wears particularly well here; VOL. 2 makes an excellent companion to the first Library of Congress set, and would make a fine addition to any blues collection.

Mississippi John Hurt was easily the most accessible of all the 1920s bluesmen rediscovered still alive and in playing condition in the early 1960s. His easy, gentle singing voice and deft guitar picking abilities were still intact and undiminished, and where some of his hard-living contemporaries suffered from alcoholism, Alzheimer's, or just plain crankiness when they emerged into the bright lights of the folk- and- blues- revivals, Hurt projected a calm, unaffected professionalism. The recordings on this two-disc set were made for the Library of Congress Archive of American Folk Song during two sessions on July 15 and 23, 1963.

Stop Making Sense is returning to theaters later this year, and now, the Talking Heads concert film is getting a shiny new soundtrack to go along with it. Rhino is issuing an updated deluxe edition on August 18th, complete with the film’s full setlist as well as two previously unreleased songs.

Denis Pascal and his sons Alexandre and Aurélien are united by a unique bond that can only come from family ties in music, and invite us on a fascinating exploration of Czech music between the 19th and 20th centuries. The national composers gradually emancipated themselves from German influence and infused their aesthetics with the melodies, colors and rhythms of their homeland. Bedrich Smetana was the first to follow this seminal path, and in his Trio op. 15, in which he mourns the death of his beloved daughter in 1855, the darkness is sometimes illuminated by purely Czech colors. In his trio "Dumky" (1891), Dvorák accentuates this tendency brilliantly, with a gripping expressive palette and an admirable perfection of composition. The Elegy by Josef Suk is a tribute to his older brother and also adds echoes of antiquity, not unlike French Impressionism.

They are one of the most famous and frequently performed works of classical music: Carl Orff's Carmina Burana. The Latin title refers to a collection of songs from Benediktbeuren dating from the 11th and 12th centuries with texts written in Middle Latin, Old French and Middle High German. Orff chose 24 of these songs, their topics ranging widely from the volatility of happiness and prosperity to the fleeting nature of life, from the joy of the return of spring to the pleasures and dangers of drunkenness, gluttony, gambling, and lust. In June 2024, at the Palau de la Msica in Valncia, the Orquestra de Valncia, one of the great Spanish symphony orchestras, together with the leading local boys choir as well as one of Spains oldest choirs, Orfen Pamplons, performed this epic work under the musical direction of Alexander Liebreich. They were joined by soloists Sara Blanch, Joaqun Asiin, and Andr Baleiro. The live recording of this lively and captivating concert evening is now available. Recorded live at the Palau de la Msica, Valencia (June 2024).

Re-imagining the fabled tale of a folklore favourite has been the latest creative challenge for Chris de Burgh. The compelling result breathes music and lyrical life into a centuries-old and much-loved classic. The Legend of Robin Hood finds Chris at his imaginative best, re-telling the story with cinematic vision coupled seamlessly to music of emotional depth and power. The concept for the 27th studio album by Chris emerged from his involvement in 'Robin Hood', a stage musical about the infamous Sherwood Forest nobleman and his band of outlaws. Chris was invited to contribute storylines and melodies to the musical, which will be produced later in the year."Since I was writing songs for this," he explains, "I thought 'Why not expand the story and put an album out, too?'"

Welcome to this month’s free 15-track CD – exclusively curated for Uncut by Lankum. The band developed in Dublin’s traditional music clubs, but have long tapped into wider international networks of punk, drone, electronica and black metal. They’ve now become inspirations themselves, leading a scene pushing traditional music to the very edges and, as they discuss in their feature in this month’s issue of Uncut, they’re proud to bring new and emerging talents to attention outside of Ireland.

OUR FREE CD! MADE TO LOVE MAGIC: To accompany this month’s Uncut cover story, a free 15-track CD of music in the spirit of Nick Drake comes with the issue. Inside, you will find tracks from the likes of Joan Shelley, Adrianne Lenker, Cass McCombs, Robyn Hitchcock and more!

Dead Set is the seventh live album (eighteenth overall) by the Grateful Dead. It was released in August 1981 on Arista. The album contains live material recorded between September and October 1980 at the Warfield Theatre in San Francisco and Radio City Music Hall in New York. Original CD pressings omitted the track "Space" so the entire album could fit on one CD. However, "Space" was included when the album was later rereleased as part of the 2004 Beyond Description box set, as well as on one CD in 2006. The 2006 release also included a bonus CD of live material.

Booker T. Jones was one of the architects of the Memphis soul sound of the 1960s as the leader of Booker T. & the MG's, who scored a number of hits on their own as well as serving as the Stax Records house band. But Jones' accomplishments don't stop there, and as a producer, songwriter, arranger, and instrumentalist, he's worked with a remarkable variety of artists, from Willie Nelson and John Lee Hooker to Soul Asylum to the Roots.

Moon Safari is an excellent Swedish progressive rock group formed in Skellefteå, Sweden, in 2003. The band focuses on vocal arrangements in the style of Gene Puerling and they willingly surrender to the spirit of 60s rock, pop and progressive rock music, previously invoked by the Beatles, the Beach Boys and Yes. As the music evolves Moon Safari changes but always maintains their vocal harmony laden, melodic approach to modern Symphonic Prog.