With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz, and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman.

The unmistakable voice of Whitney Houston is powerful and timeless. She is one of the best-selling artists of all time with sales of over 200 million records worldwide and is the only artist to have had seven consecutive number-one singles on the Billboard Hot 100. She reached the pinnacle of pop success, becoming one of the most accomplished recording artists of all time. But her heart was always in Gospel music, and it profoundly influenced her life and career. I Go To The Rock captures her Gospel music journey. Featuring six never-before-released songs, the album gives a glimpse of the deep faith behind the voice that continues to uplift and impact countless lives around the world.

On a rising crest of a wave, British-Italian tenor Freddie De Tommaso seems likely to add to the approving clamour that greeted last year’s debut collection of Italian songs, Passione, with this rousingly, rapturously sung sophomore survey of arias and duets by Puccini and Bizet.

2022 release from the acclaimed singer/songwriter. On My Ideal (A Tribute to Chet Baker Sings), Amos Lee reanimates the songs of Chet Baker. Working with material sourced from 1954's iconoclastic Chet Baker Sings, including "My Funny Valentine" and "I Fall in Love Too Easily," Lee and his well-oiled jazz quartet deliver 16 gorgeous recordings that are, at once, expansive and understated, intimate and ambient-the perfect soundtrack for gatherings of every variety.

The Academy of St Martin in the Fields (ASMF) is an English chamber orchestra, based in London. John Churchill, then Master of Music at the London church of St Martin-in-the-Fields, and Neville Marriner founded the orchestra as "The Academy of St. Martin-in-the-Fields", a small, conductorless string group. The ASMF gave its first concert on 13 November 1959, in the church after which it was named. In 1988, the orchestra dropped the hyphens from its full name.

This 21-song set is representative of Roy Wood's always inventive work with the Move, Wizzard, and as a solo artist. It contains no fewer than three U.K. number one hits, in addition to the seasonal "I Wish It Could Be Christmas Every Day," and which usually makes a chart appearance during the holidays. And the sound quality is uniformly fine, which certainly hasn't been the case with some reissues like The Best of & the Rest of Roy Wood & Wizzard, which is something of a companion piece to this disc. The songs range from the strongly Beatles-influenced early Move singles ("Blackberry Way") to their heavier, later material ("California Man" and "Brontosaurus," both of which have been covered by Cheap Trick) to the Phil Spector homages of Wood's rock & roll big band Wizzard ("See My Baby Jive," "Ball Park Incident," and "Angel Fingers") to sumptuous solo pop confections ("This Is the Story of My Love"). A gifted writer, arranger, and producer, Wood is an underappreciated original whose music should appeal to any fan of classic rock and pop.

The last album in our Gabriel Pierné retrospective focuses on choral music. Discover the very rare Ronde de fées (Fairy’s Round) for female choir and piano after a charming poem by Jean Lorrain, performed by the Ensemble vocal Jean-Paul Kreder in the premiere recording. It is coupled with other French choral pieces, both sacred and profane.

Bach model Dieupart completely redefined. Bob van Asperen dispels false facts in Dieupart's biography and does away with inadequate editions of music.

Félicien David (1810-1876) (not to be confused with his near-exact German contemporary, violinist and composer Ferdinand David, 1810-1873) was French, and during his life better known for introducing a North-African and Middle-East-inspired exoticism (the so-called “Orientalism”) to choral and opera music (he had made a long journey to these regions from 1833 to 1835) than for his chamber music, paving the way for Delibe’s Lakmé, Bizet’s Djamileh, Gounod’s La Reine de Saba and Lalo’s Namouna.

The series of Janacek's operas conducted by Sir Charles Mackerras for Decca has become one of the most exciting gramophone projects of the day, with each issue a major event. The new digital recording of the last opera he composed, From the House of the Dead, is no exception: indeed, for reasons that lie beyond the excellence of performance and recording, and also lie apart from the fact that here is the first version to appear for nearly eight years, this is an historic occasion, a significant contribution to musical knowledge.

Innuendo is the fourteenth studio album by the British rock band Queen, released on 5 February 1991 by Parlophone in the United Kingdom and it is the band's first studio album to be released by Hollywood Records in the United States. Produced by David Richards and the band, it was the band's last album to be released in lead singer Freddie Mercury’s lifetime, and their most recent one to be composed of entirely new material. It reached the No. 1 spot on the UK album charts and stayed at that position for two weeks, and also peaked at No. 1 in Italy, the Netherlands, Germany, Switzerland, staying at No. 1 for three weeks, four weeks, six weeks, and eight weeks, respectively. It was the first Queen album to go Gold in the US upon its release since The Works in 1984.

45 little masterpieces for the Lutheran Service. The explanatory title Bach gave to his Orgelbüchlein, a collection of chorale preludes composed in Weimar between 1708 and 1717 is as follows: Little organ book, in which the aspiring organist is given guidance in the performance of a chorale in many different ways, as well as in perfecting himself in the study of the pedal, since in all of the chorales contained herein the pedal part is obligatory. In honour solely of God on high, and for the instruction of my fellowmen.

Giulio Cesare, Händels aufwändigste Oper aus dem Jahre 1724, markierte im März 1994 den Beginn der Münchner Händelrenaissance. Mit einer spektakulären Premiere sorgte Intendant Sir Peter Jonas international für Furore. Weit über 100 Aufführungen von 1994 bis 2006 spielten vor ausverkauftem Haus.