Until the arrival of this disc, practically all I knew about Ferdinand Schubert was that he had tended his younger brother Franz in his final illness, that in his two marriages he had fathered more children even than Bach in his (29, to be precise), and that he had composed a quantity of church music, among which was a Requiem described as his Op. 2 which in fact had been written for him—most willingly—by his 21-year-old brother.

Although The Moment followed four years after Kenny G's blockbuster Breathless, the saxophonist didn't change his approach at all during his time off. Kenny G remains a sweet, melodic instrumentalist, who works entirely in lush, slick adult contemporary pop settings. His playing has improved somewhat in those four years – he soars and dives with effortless skill, and his vibrato remains fleet and elegant – yet after The Moment is finished, you wish that he had tried some new musical territories. That said, it is true that The Moment ranks second to only Breathless in terms of sheer consistency in Kenny G's catalog, thanks to the sustained vision of producer Babyface. Of particular note are the two vocal collaborations (Babyface's "Everytime I Close My Eyes," Toni Braxton's "That Somebody Was You"), which are the best duets to yet appear on any of Kenny G's records.

LSD: Love, Sensuality and Devotion gathers over a decade's worth of Enigma's definitive tracks, including the song that started it all, "Sadeness, Pt. 1." "Return to Innocence," "Beyond the Invisible," and "Cross of Changes" are all featured as well, and though the collection ranges from the rock-tinged "I'll Love You…I'll Kill You" to atmospheric, electronic fare like "Shadows in Silence," since it's all essentially Michael Crétu's vision, it flows surprisingly well. Since Enigma's sound has varied fairly drastically over the years, LSD: Love, Sensuality and Devotion is the perfect starting point for anyone curious about Crétu's music, and the only Enigma album that casual fans might need.

With Wayne Henderson of Crusaders fame handling the production, Caldera showed a great deal of promise on its self-titled 1976 debut album. The Latin jazz-fusion unit isn't afraid to take chances on such imaginative pieces as Jorge Strunz's "El Juguete" and Eduardo del Barrio's "Exaltation" – chances that pay off in a major way. Though one can tell that Caldera's members were well aware of such explorers as Return to Forever, Weather Report, and the Mahavishnu Orchestra, it's also clear that they were major Earth, Wind & Fire fans and had absorbed a wide variety of Latin music. Strunz and del Barrio were hardly the only fusionists who incorporated Latin rhythms in the 1970s – Chick Corea, George Duke, Wayne Shorter, Al DiMeola, and Joe Zawinul were all well aware of the musical innovations of Latinos, but Caldera was unique in the sense that the band represented a real melting pot of Latinos bringing different ideas to the table. And on this LP, those ideas work magnificently.

Reckless is the fourth studio album by Canadian singer-songwriter Bryan Adams. Released on 5 November 1984 through A&M Records, the album was co-produced by Adams and Bob Clearmountain, and it was arguably Adams' most successful solo album. The album was a huge international hit, selling over five million units in the United States alone and twelve million worldwide. It was the first Canadian album to sell more than one million units within Canada. The album reached number one on the Billboard 200 and reached high positions on album charts worldwide.

At the Movies: Soundtrack Hits (2007) is a 19-track compilation of Van Morrison songs featured in a film at one time or another. Rather than play like an odds-and-ends compilation of soundtrack rarities as one might expect, Soundtrack Hits plays like a best-of collection, including many of Morrison's greatest solo hits along with a couple Them songs ("Gloria," "Baby Please Don't Go"). There are several live versions in place of the studio cuts. The live versions of "Moondance" and "Brown Eyed Girl" are previously unreleased.

Tom Petty & The Heartbreakers famously played 20 nights at the legendary Fillmore venue in San Francisco in 1997. 6 of the shows were professionally recorded and this release features many of the high points of the residency. The small venue allowed the band to vary their sets each night; they included re-arranged and distinctive versions of their hits, deep cuts, and many cover versions – paying tribute to the artists that Tom and the band had been influenced by. The 4 CD deluxe edition includes fifty-eight tracks pulled primarily from the last six concerts performed in the residency. Those six shows were professionally recorded and tracks from the setlists in those shows have seen previously release on The Live Anthology and the 2020 expanded reissue of Petty's 1994 album Wildflowers.

Having completed the entire trilogy of Handel’s Concerti grossi, the Akademie für Alte Musik Berlin presents a recording of the first six Concerti grossi, Op. 6 by the composer, ensemble leader and violin virtuoso Arcangelo Corelli, who received the almost cult-like reverence during his lifetime. The composer had been experimenting with this one of the most distinctive forms of instrumental music of the Baroque era since the late 1670s, but it was only towards the end of his life that he sought to publish these compositions and selected only twelve exemplary pieces from what was probably a much larger collection. He laid the foundations of this instrumental form for future composers such as the before mentioned Georg Frederic Handel, who paid tribute to the Italian Baroque master with his two opuses. The Akademie für Alte Musik Berlin and its two concertmasters, Mayumi Hirasaki and Georg Kallweit, who demonstrate their extraordinary virtuosity, only prove why they are regarded as one of the most influential period-instrument ensembles of today.

Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore shifted his musical focus away from hard rock in the late '90s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancée, vocalist/lyricist Candice Night, and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya."

Gilles Binchois (ca 1400-1460), was one of the most eminent composers of the early Renaissance. Highly esteemed by his fellows, Binchois left a lasting legacy, notably through his polyphonic chansons and sacred works, although these remain unfamiliar to the general public. This selection of works by Binchois, born in Hainault, shows the evolution of his musical language from the beginnings of the burgundian style to the later instrumental transcriptions of some of his works, as these bear witness to the timeless beauty of his melodies and harmonic structures.

The Neave Trio’s new album celebrates French works for piano trio, focussing on three works composed around the turn of the twentieth century. Saint-Saëns’s Piano Trio No. 2 dates from 1892 and comprises five movements. Unusually for Saint-Saëns, the work took a great deal of time from conception to completion (over five years) and then went through a number of revisions before Saint-Saëns was finally satisfied. Mel Bonis’s two pieces Soir and Matin, whilst on a smaller scale, are equally powerful works, bridging the worlds of romanticism and impressionism. The first piece is dominated by a cantabile melody, whilst Matin is more chromatic and harmonically complex. The album concludes with Sally Beamish’s arrangement of Debussy’s orchestral masterpiece La Mer. This three-movement symphonic work presented Beamish with an exceptional challenge, as she strove to ‘reinvent Debussy’s orchestral score with the piano trio in mind… This meant exploring what strings and piano can do in terms of texture, and concentrating on idiomatic and natural techniques.’ By studying and recreating Debussy’s colours and textures, rather than attempting to transcribe every note, Beamish produced an arrangement that presents the performers and listeners with a completely new perspective on these well-loved seascapes.

New England is the seventh studio album by rock band Wishbone Ash. It was a success compared to the band's Locked In album, but still did not chart as high as most of their previous albums. This album would mark the "Americanization" of Wishbone Ash, as the band would relocate from England to the Northeastern United States (New England) for tax purposes. New England contained an even balance of hard rock songs and breezy, soft rock ballads, the latter of which would see further exploration from Wishbone Ash on their next studio album, Front Page News.

Featuring a broader array of styles than any previous Linda Ronstadt record, Simple Dreams reconfirms her substantial talents as an interpretive singer. Ronstadt sings Dolly Parton ("I Never Will Marry") with the same conviction as the Rolling Stones ("Tumbling Dice"), and she manages to update Roy Orbison ("Blue Bayou") and direct attention to the caustic, fledgling singer/songwriter Warren Zevon ("Poor Poor Pitiful Me" and "Carmelita"). The consistently adventurous material and Ronstadt's powerful performance makes the record rival Heart Like a Wheel in sheer overall quality.

The album, originally released in 1977, was Dave Brock and Robert Calvert's masterpiece that perfectly embraced the influence of the musical New Wave to deliver one of the most effective albums released during Calvert s tenure with Hawkwind. This expanded edition features a bonus CD featuring studio session alternate takes and live recordings by The Sonic Assassins from 1977. Including such classic tracks as Spirit of the Age, Hassan I Sabbah and Damnation Alley , this reissue has been remastered from the original master tapes (a first for any CD issue of this album).

Ophélie Gaillard offers an eclectic repertoire, ranging from Baroque to contemporary music. She performs as a soloist, with her ensemble Pulcinella, as well as with renowned artists, depending on the works being presented. Highly dedicated to musical transmission, she regularly leads orchestra academies from her cello and shares the stage with prestigious ensembles such as the Swiss Cellists and the Young Talents of the Ponticello-Genève festival. Her varied programs, such as "Napoli!" and "A Night in London", reflect her commitment to bridging different eras and styles.