The Naples years, 1815 to 1822, are at the very centre of Rossini's creative life. It is here that genius—''I had facility and lots of instinct''—was put to school. And firmly so: the serious masterpieces of the Naples years take as their subjects the Bible and Shakespeare, Scott and Racine, Tasso and English historical romance.

Giustino is the Baroque version of a ‘ripping yarn’. The eponymous hero rises from ploughboy to emperor via an action-packed curriculum vitae that has him seeing visions, routing traitors, fighting bears and even slaying a sea-monster! Written in the autumn of 1736, shortly after Handel had suffered a period of ill-health, Giustino is not among his greatest operas, but it is thoroughly entertaining and offers much fine music. Particularly felicitous are Giustino’s bucolic aria ‘Può ben nascere tra li boschi’ and Anastasio’s lovely ‘O fiero e rio sospetto’. The headlong pace leaves Handel little time to develop the more sensual, amorous side of his music. One exception – and the opera’s most entrancing interlude – is the ravishing love duet in Act II, superbly sung here by Dorothea Röschmann (Arianna) and Dawn Kotoski (Anastasio).

For the present disc, Accademia Daniel have chosen solo concertos for violin, viola d’amore and bassoon, as well as a concerto that combines three bass soloists (chalumeau – a popular instrument in Darmstadt, it seems – cello and bassoon), and one of several of the composer’s Entratas “per la Musica di Tavola”, to all intents and purposes an orchestral suite, though eschewing the French overture associated with that form. All of the concertos are in the fast-slow-fast three movement form and have little in common with the Vivaldian model; in fact, the solo instrument is more just another colour on the composer’s palette. With that idea in mind, the wanton addition of a recorder to the final movement of the suite is easily forgiven. Graupner’s music takes some getting used to – what seem like normal baroque movements take some unexpected harmonic twists and turns, and his melodies frequently surprise; these players are well used to his music now, and their easy facility is reflected in some delightful performances.

Oddly enough, this outing signifies British pianist John Taylor's first "ECM Records" issued solo effort, especially when considering the artist's twenty-five year tenure with this notable record label. Here, Taylor employs one-time Bill Evans trio bassist Marc Johnson, and New York City based drummer Joey Baron for a set consisting of Taylor originals, such as the mood evoking, "The Bowl Song," and others. A seminal "ECM" session ace, Taylor has graced recordings by drummer Peter Erskine and trumpeter Kenny Wheeler throughout his distinguished career.

This 1975 release on Mercury has Randy California and Ed Cassidy's names imprinted boldly on the cover as Spirit, and the 26 songs - starting with "America the Beautiful/The Times They Are a Changin'" and concluding with "The Star Spangled Banner" - are more than just a sly tribute to the bicentennial. They are the most fluid and satisfying statement by the California/Cassidy version of the band, who would be together for another 20 years before California's untimely passing. As ethereal and icy as Feedback, the album Cassidy recorded with the Stahely brothers, there are all sorts of hidden meanings projected throughout this LP. Randy California gives more than a few nods to his work with Jimi Hendrix - covers of "Like a Rolling Stone" and "Hey Joe" are two of Hendrix's more notable and triumphant revisions…

Although he was a student at the Paris Conservatoire at the same time as Debussy, studied with Massenet and Franck, won the Prix de Rome, and even succeeded Franck at the venerable post of organist at Sainte-Clotilde, the name of Gabriel Pierné is little remembered today, to say nothing of his compositions. Fortunately for listeners, the Canadian ensemble Trio Hochelaga has among its missions the revitalization of forgotten and underappreciated French compositions. Pierné's C minor trio certainly falls into their purview.

Rich, smooth, creamy, and very, very warm, Renée Fleming's soprano pours all over the music of George Frideric Handel like melting chocolate. From the voluptuous Oh sleep, why dost thou leave me through the luxurious Endless pleasure to the opulent Calm thou my soul, Fleming's voice fulfills the heart and soul of Handel's music. Better yet, Fleming sounds like she really means it. Each aria has its own emotional character and each aria has its own musical personality.

This Toninho Horta's tribute to Tom Jobim happens to make it clear how similar they are in their open mind and how different they are in their top quality wonderful results. Both are great composers and players with an orchestra's conception in their minds. This is a must-have CD. The Brazilian master guitarrist, arranger and composer Toninho Horta pays his tribute to Tom Jobim.

Instrumental and vocal techniques are intertwined in the music of Harrison Birtwistle: he often treats the voice instrumentally and his instrumental writing has vocal characteristics. Many of his works for small ensembles, with or without voices, occupy this common ground, his highly individual style juxtaposing the static and the violently dynamic and intersecting with his fondness for ritual and myth – not least a recurrent concern with the figure of Orpheus. This recording presents some of these relatively neglected pieces, recorded live in the presence of the composer, who also talks about his songs in interview.

Authentic and authoritative, these 1985 recordings of Mozart and Beethoven's quintets for piano and winds have almost everything going for them. Performing on a pianoforte modeled on a 1790 Viennese instrument, Jos van Immerseel is an adroit player, while the quartet drawn from the period instrument wind band Octophoros Paul Dombrecht on oboe, Elmar Schmid on clarinet, Piet Dombrecht on horn, and Danny Bond on bassoon are likewise all skillful instrumentalists.

For his first solo album, Galasso gives us nine numbered “Scenes,” each the facet of an unfathomable jewel. The album has the feeling of a home recording, multi-tracked and with minimal processing applied. Despite being meticulously composed, it is also spontaneous in feel and refreshingly non-perfectionist. Some lines don’t quite sync up, as if what we hear were just a potent coincidence.

Avid Jazz continues with its Four Classic album series with a re-mastered 2CD release by Dave Pike, complete with original artwork and liner notes. “It’s Time For Dave Pike”; “Pike’s Peak”; “Bossa Nova Carnival” and “Limbo Carnival”.
Perhaps not the first name that springs to mind when we think of jazz vibes players, nonetheless our latest (unsung) jazz hero, Dave Pike had an amazing career starting with his debut performance in 1958 with the Paul Bley Quartet. Our first two releases find Dave in a more traditional vibes mode, but take a look at the pianist on Pike’s Peak and it will indicate how well he was thought of back then, none other than the legendary Bill Evans joins Dave at his “steamtable” for a fine set of almost “jamming session” intensity…