Cleverly paired with two symphonies by C.P.E. Bach – written in 1755/56 and 1775/76 respectively – Beethoven’s first two contributions to the symphonic genre reveal the bubbling creativity of a thirty-year-old composer determined to go even further in the renewal of the genre than another, very recent reference, Mozart’s ‘Jupiter’. So much is clear from the very first chord of his Symphony no.1! Relive this decisive moment in the company of the musicians of the Akademie für Alte Musik Berlin, under the guidance of their Konzertmeister Bernhard Forck.

Johann Joachim Quantz, in his handbook for transverse flute written in 1752, wrote of the composer Georg Philipp Telemann: “I wish to especially recommend Telemann’s trios written in the French style, many of which he had already fashioned thirty or more years ago.” Georg Philipp Telemann not only gained the admiration of Quantz, but his pieces are still frequently performed and recorded today. For this album, his Concerto di camera in G minor, Double Concertos in A minor and E minor, and Suite in A minor have been recorded. Performing these timeless works are three outstanding period instrumentalists, Bolette Roed, Reiko Ichise, and Alexis Kossenko.

It is a familiar fact that Antonio Vivaldi was a prime mover in the creation of the solo concerto, but what is less well known is that he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part, intended for what we nowadays would call a string orchestra with continuo. As Vivaldi expert Michael Talbot explains in his informative liner notes, these works are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music. It is not known when Vivaldi started to write them, but most of the almost fifty concertos probably originate from the 1720s and 1730s. .

An extraordinary, constantly inventive composer, free of all constraints, like a new Gesualdo. After Monteverdi, here is the last revolutionary of the in- cendiary seconda prattica, in a programme exalting by turns profane love and sacred desire, performed by an outstanding cast of singers.

Marin Marais, the most outstanding composer for the viola da gamba, was a master in the writing of so-called Pièces de Caractère, in which he called upon the most diverse subjects for inspiration: La Désolée (the desolate), La Guitare, Feste Champêtre (country fair), Le Tableau de l’Opération de la Taille (a description of a gallstone operation!) and so on. The choice of 'Images' in Marais’ five books of Pièces de violes is endless. A program full of worship, grandeur and sadness.

A lavish package celebrating the myriad bumps, bruises, and highlights of the Stranglers' earliest and best, the boastfully titled Old Testament is a four-CD set (five, in some editions) that spans the group's first six albums (up to 1981's La Folie), also including a number of non-LP singles and B-sides. (Physical editions of the box also contain an exhaustive – if blindly…er, boastful – 112-page book, which makes the package all the more attractive for longtime fans who have long since hunter-gathered the rarities.) It would be a major gamble to make this your first Stranglers purchase, especially due to the 1997 release of The Hit Men, which runs through the band's stylistically varied singles and doesn't indulge too much in the Stranglers' lengthy deterioration phase(s). They were productive from 1977-1981, discounting the number of album tracks that really shouldn't have seen the light of day. Make no mistake, nearly every good thing they did can be found within these four discs, save for the odd later hit like 1984's soft rock gem "Skin Deep." The 80-plus songs on The Old Testament definitely prove the Stranglers to be worthy of a box set.

Sade's fourth album, Love Deluxe, included the hit "No Ordinary Love" and marked a return to the detached cool jazz backing and even icier vocals that made her debut album a sensation. Although Sade's style is more suggestive than hypnotic and her production and arrangements are in an urbane mode rather than a jazz one, she maintained her popularity among the fusion and urban contemporary audiences. This release also includes "Mermaid," "Pearls," and "Feel No Pain."

Released by the EMI-licensed Petrol imprint as part of the Seriously Good Music series, this 12-track collection of modern Gypsy music is as intoxicating as it is devilish. From the traditional sounds of Esma Redzepova ("Abre Ramce") to the dub-heavy pulse of Balkan Beat Box ("Bulgarian Chicks"), this is one of the best entries in the series and a worthy introduction for anyone looking to get a grip on one of the world's most playful, sensual, spooky, and dramatic genres. –James Christopher Monger

This massive soundtrack collection brings together music from multiple films in the Fast & Furious franchise, showcasing the high-energy, adrenaline-pumping vibe that defines the series.

Music Wars - 40 Years of Central Station Records: the story of Central Station Records and its crucial role in the development of the electronic dance music scene in Australia and New Zealand from the 1970s to today. Founded in the 1970s, Central Station Records grew from a small independent Melbourne based store into an iconic dance music brand, recognised on a global scale. By the mid-90s, the brand held physical stores in major cities, busy mail-order and export operations, successful recording labels and streetwear lines. The focus was electronic dance music - from disco and house to hip hop and hardcore - and the whole lifestyle surrounding it. Meanwhile, sideline business, Metal for Melbourne, catered for another emerging and neglected market - heavy metal fans. In many ways, original owners Giuseppe (Jo) Palumbo and Morgan Williams were unlikely entrepreneurs. Both from the wrong side of the tracks in their respective birthplaces (Italy and New Zealand), they were motivated more by the prospect of achievement, freedom and fun than by any hunger for money and status. Unfortunately for them, freedom and fun were hard to come by for many years, as they contended with legal threats, supply embargoes and intimidation tactics. Fortunately, dance music took off in a big way. Generations of DJs, clubbers, ravers and radio listeners supported their stores and tunes. And it is to the dedicated and loyal fans that Central Station Records owes their thanks, in celebrating 40 years.

The soundtrack is a mix of rock and roll and rhythm and blues with the original score created by film composer Elmer Bernstein, who had been a Landis family friend since John Landis was a child.[38] Bernstein was easily persuaded to score the film, but he was not sure what to make of it. Similar to his preferring dramatic actors for the comedy, Landis asked Bernstein to score it as though it were serious. He adapted the "Faber College Theme" from the Academic Festival Overture by Brahms, and he said that the film opened yet another door in his diverse career: scoring comedies.

A showcase of Paco De Lucia’s mesmerising Montreux Jazz Festival live performances between 1984 to 2012. The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 57-year history, remastered in superlative audio.

Foxtrot is the fourth studio album by the English progressive rock band Genesis, released on 15 September 1972 by Charisma Records. It features their longest recorded song, the 23-minute track "Supper's Ready". The album was recorded during the tour in support of their previous album, Nursery Cryme (1971), which saw them gain popularity, including a well-received slot at the Great Western Festival, Lincolnshire, in May 1972. The album was written over the summer of 1972 and combined songs that had already been performed live with new material worked out in jam sessions. The cover was the final one designed by Paul Whitehead, featuring a fox wearing a red dress. Frontman, Peter Gabriel, wore the dress and a fox's head on stage during the following tour, which gathered press attention and raised the group's profile. Foxtrot was the first Genesis album to chart in the UK, reaching No. 12, and received largely positive reviews. It reached No. 15 in Italy, where the band had been popular for some time. The album has continued to attract critical praise.

Curtis Mayfield recorded a string of hits with The Impressions before leaving the influential soul-gospel group to embark upon a solo career that began in 1970 and produced some of his greatest work. Known as the 'Gentle Genius', Mayfield has been inducted into the Rock and Roll Hall of Fame twice - first as a member of The Impressions and later as a solo artist. This collection includes newly remastered versions of his first four studio albums: Curtis (1970), Roots (1971), Back to the World (1973) and Sweet Exorcist (1974). His debut album, Curtis reached the Billboard Pop Albums Chart Top 20 and was certified gold. It features “(Don’t Worry) If There’s A Hell Below, We’re All Going To Go,” a hit in the U.S., and “Move On Up,” which charted in the U.K. Mayfield returned in 1971 with Roots. His second solo album peaked at #6 on the R&B Albums chart thanks to memorable tracks like “Get Down,” “Beautiful Brother Of Mine” and “We Got To Have Peace.”

NOW is going back to the 1970s to proudly present the next instalment in our ongoing ‘Yearbook’ series – featuring 84 stellar tracks celebrating a brilliant year of pop singles. NOW – Yearbook 1976. Kicking off in magnificent style with signature songs from enduringly popular artists: A #2 in 1976, Queen’s ‘Somebody To Love’ is first up, followed by Electric Light Orchestra with ‘Livin’ Thing’, Fleetwood Mac with ‘Say You Love Me’, and 10cc with ‘I’m Mandy Fly Me’. Chicago hit #1 with their all-time classic ballad ‘If You Leave Me Now’, and Bonnie Tyler made her chart debut with ‘Lost In France’, whilst Leo Sayer reached #2 in the UK, and #1 in the US with ‘You Make Me Feel Like Dancing’. Next up, a trio of dance-floor favourites – and all #1s in ’76: Tina Charles with ‘I Love To Love’, The Real Thing with ‘You To Me Are Everything’, and 14 years after making their UK chart debut Frankie Valli & The Four Seasons enjoyed their first chart-topper with ‘December 1963 (Oh What a Night)’. The floor-fillers continue from Candi Staton, Barry White and Melba Moore ahead of a disco-flavoured single from former glam-pop stars, MUD. Brilliant and unforgettable pop gems from Smokie, Bryan Ferry, Sailor, and a cover of ‘Here Comes The Sun’ from Steve Harley & Cockney Rebel lead into Paul Simon’s ’50 Ways To Leave Your Lover’, and the first disc’s closing tracks – both timeless ballads: Joan Armatrading with ‘Love And Affection’, and Diana Ross with ‘Theme From Mahogany (Do You Know Where You’re Going To)’