The "Live And Let Die" Soundtrack marked several musical firsts: it was the first James Bond soundtrack that did not involve John Barry, it was the first time a rock song was used as a Bond theme and it was Paul McCartney's first post-Beatles reunion with producer George Martin. The title track has become one of McCartney's biggest hit singles: "Live And Let Die" was nominated in 1974 for an Academy Award for Best Original Song, it sold over a million copies and peaked at number two on the Billboard Hot 100.

The album WAVES is a Ukrainian progressive modern jazz music by a well known, prolific composer, arranger and pianist Nataliya Lebedeva. Lyrics for the compositions were created by the soloist of the project, the famous singer and composer Laura Marti. These songs make a great set together, as they cover a wide range of different kinds of grooves and polyrhythms. Challenging, inventive mood shifts and the dynamic musical dramaturgy intrigue and create a special atmosphere for the listeners.

The city of Eisenstadt was the location of the Esterhazy Court where Joseph Haydn was music director for 25 years. Prince Nikolaus commissioned Haydn to write trios for the baryton, an instrument on which the Prince had become proficient. The baryton is a bowed, stringed instrument similar to the viol but with extra plucked strings that can enable the performer to accompany themselves. For Nikolaus, Haydn wrote string trios of elegance, refinement and poise that encapsulate a rich variety of moods. Seldom performed or recorded, the baryton trios attest to Haydn's limitless powers of invention in every medium.

Over the course of his long and eventful career, Dussek composed 38 violin sonatas – or rather sonatas for the keyboard, accompanied by the violin – and the partnership of Julia Huber and Miriam Altmann is acquiring impressive credentials and critical praise as they gradually uncover them for the first time.

Georges Migot (1891–1976) authored a vast oeuvre founded on two principles that in various ways pervade all of his work: a nationalist aesthetic and a link to the past. This emerges and is reinforced in repeated references to the French lutenists of old, as well as troubadours and trouveÌres, folk song and ancient monodic forms, particularly plainchant. Rather than limit himself to copying their external structure, however, Migot sought to extract the spirit, sensitivity, grace and sense of freedom from these historic forms, which he believed better suited the infinite nature of human sensitivity. Despite strong and professed ties to his contemporaries Faureì and Debussy, Migot cannot be placed in any school or branch of 20th-century music.

Marco Mezquida's piano sparks when it meets Massa Kamaguchi's double bass and Ramon Prats' drums, three musicians who performed together ten years ago in a memorable concert and have come together again in "Tornado". Marco Mezquida has tried to be the catalyst for the energy that is generated when the trio plays together and they have made an album that draws on free improvisation and jazz. The album includes twelve tracks that "are like a tornado passing over you, with its moment of calm after the storm included".

Max Reger (1873–1916) is noted for his devotion to Johann Sebastian Bach. In the words of musicologist Massimo Mila, Reger was an “outstanding crafter of chamber music, who loved restoring ancient contrapuntal forms: fugues, passacaglias, chaconnes, suites, etc.” His 3 Suites for Viola Solo Op.131d – completed a year before his death – exemplify this contrapuntal restoration and reinvention. They belong to a collection of works with an ancient feel in the style of Bach (Op.131), which also comprises music for solo violin, for two violins and for cello. The three solo viola suites all emphasise the polyphonic nature of an instrument that to this day is still considered monodic.

A beloved trio of Romantic violin sonatas in the passionate and assured hands of an exciting Italian violinist near the start of her career: an auspicious debut on Brilliant Classics. Winner of the 30th edition of Michelangelo Abbado violin competition held in Milan in 2009, Germana Porcu Morano studied in Bergamo, and has gone on to win several other national and international prizes included a scholarship funded by Claudio Abbado. She has performed as a soloist and in chamber ensembles across Europe and in China. She is a member of the Paganini String Quartet, with plans afoot to record the completequartets by Paganini.

Works attributable with certainty to Nicolò Corradini (1585–1646) – likely from Cremona as opposed to Bergamo or Rome as erroneously suggested in the past – are limited to a few printed editions, among them the Primo libro de Canzoni francesi a 4 e alcune suonate (a copy of which has come down to us, printed by Gardano in Venice in 1624). It includes ten French canzonas and four sonatas, works most likely conceived to be performed by several instrumentalists, including one or more possible continuists (because of the speed of some passages and the separation between different parts of often more than an octave).

Mark Viner’s survey of the complete solo piano music of Alkan continues to turn up discoveries and reveal previously little-known or misunderstood sides of a protean figure in late French romanticism. Viner himself regards Alkan as ‘the most enigmatic figure in the history of music as a whole’.

Few recordings exist of Beethoven’s unique oratorio which drew influence from Händel’s work Haydn’s The Creation and the Seasons. A revelation came in 1966 Philadelphia when Eugene Ormandy made a beautiful recording of the oratorio.

Swingin' Machine is an album by American pianist, vocalist and composer Mose Allison recorded for the Atlantic label in 1962.

This CD reissue brings back one of Annie Ross' most obscure albums of the 1950's. Recorded at a time when the singer was just starting to get known for her work with Lambert, Hendricks and Ross, the set is a swinging but largely straight rendition of the score from the play "Gypsy.

Bing Sings Whilst Bregman Swings was Bing Crosby's sixth LP, his first album for Verve, recorded and released in a mono format in 1956.

Blandine Verlet is one of the last living legends of the harpsichord. After a few years of absence from the recording studio, she makes her debut here on the Aparte label with a program dedicated to the harpsichord music of François Couperin.