Spanish guitar player from Madrid, also producer roles. Active since 1987.
El guitarrista madrileño Agustin Maruri ha ofrecido conciertos en los cinco continentes actuando en Austria, Alemania, Francia,Italia, Grecia, Portugal,Irlanda, Holanda, Suiza,Suecia, Dinamarca, Noruega,Finlandia, Inglaterra, Polonia, Estonia, Letonia, Lituania, USA, Canada, Bulgaria,Japón, Korea, Filipinas, Argentina, Chile, México, Ecuador, Panama,Guatemala,Santo Domingo,Cuba, Costa Rica,Honduras,El Salvador, Venezuela,Paraguay,Marruecos,Senegal, China, India, Australia, Nueva Zelanda, Kuwait, Qatar, Omán.

This is a most encouraging issue. In the wake of BIS’s continuing series of Mozart Camargo Guarnieri’s symphonies, Naxos – knowing a good thing when they hear it – have collected his three piano concertos onto a single disc, the First being a premiere recording with neither of the others otherwise available. Indeed, there is little enough of Guarnieri’s bright and attractive music in the catalogue at all. Recording the appealing First Concerto highlighted some major textual issues with the score, as James Melo succinctly summarizes in the booklet.

Après Icare (2021), Emily Loizeau nous revient avec l’album La Souterraine. Un disque qui se veut rempli d’espoir et de détermination. Face aux enjeux qui nous font perdre pieds, La Souterraine nous rappelle la nécessité absolue de nous soulever, de nous métamorphoser. Le premier extrait – à découvrir ci-dessous - s’intitule Ici commence la mer. Cette chanson, dont la mélodie pourrait être une comptine d’autrefois, avec quelque chose d’intemporel, voire d’éternel, est celle d’une aube et d’un commencement, où l’on sent dans les mots et la voix une aspiration candide à la beauté et la lumière. Le titre est inspiré de la formule imprimée au pochoir sur les bouches d’égouts et ferme l’album, une conclusion qui, au lieu de clore le monde et d’éteindre sa lumière, le rouvre et l’illumine. Sortie le 6 septembre 2024.

Costanzo Porta (1528 or 1529 – 19 May 1601) was an Italian composer Renaissance, and a representative of what is known today as the Venetian School. He was highly praised throughout his life both as a composer and a teacher, and had a reputation especially as an expert contrapuntist.

Après son premier album “On n'enferme pas les oiseaux" certifié Or en France et à l'international, une Victoire de la musique (Révélation féminine 2022), une seconde place à l'Eurovision 2021 avec sa chanson '"Voilà", certifié Platine en France et à l'international, Barbara Pravi revient avec “La Pieva”, un nouvel album plein de fougue et d'émotions.
« La Pieva », signifie "la chanteuse" en Serbe. Pour cet album, Barbara s'inspire de son ancêtre, la veuve Milovanovic. Une gitane qui vivait dans les montagnes de Serbie et qui allait de village en village pour chanter pour les villageois. Barbara vient de sa famille et comme La Pieva avant elle, elle raconte des histoires. La vie, la mort, la famille, le monde qui nous entoure. L’amour aussi, l’amitié, l’humanité.

The three full-length ballet scores that Dmitry Shostakovich wrote between 1925 and 1935 remain among his least known works. The Golden Age revolves around the visit of a Soviet football team to a Western city (referred to as 'U-town') at the time of an industrial exhibition, only for its heroic sporting and social endeavours constantly to be undermined by hostile administrators, decadent artistes and corrupt officials. Even before its premiere Shostakovich had prepared a suite, including the famous Polka (Naxos 8.553126), which barely hints at the dissonant harmonies and intricate contrapuntal designs to be found elsewhere in the ballet. This recording is the first to present the work complete with all repeats observed, enabling listeners to assess the ballet in all its exhilarating and, at times, anarchic intensity.

When the self-described "disco queen" known as Sylvester stepped on a New York stage opening for Chaka Khan, the local press was entranced. One newspaper approvingly noted that he made "David Bowie look like Lawrence Welk." Nothing was too outrageous for Sylvester. But at his core, he was serious about music and about breaking down the walls of identity. In appearance and demeanor, the unapologetically gay San Francisco star challenged the gender binary long before such discussions were in the mainstream, going far beyond androgyny to create a striking persona all his own.

One of the most striking debut albums ever released, this disc instantly established Chapman as a musical force, and with good reason. Immediacy, integrity of purpose and unqualified artistry are apparent in nearly every song. And while "Fast Cars" remains Chapman's best-known work, "Talkin' Bout a Revolution" is that rarest breed: a song which is both topical and timeless. Any exploration into Chapman's work should begin with this at times stunning effort; it is a disc of remarkable uniformity and clarity that Chapman has yet to improve on.

In popular mythology Haydn’s name is far less closely associated with the piano sonata than with the string quartet or symphony. Though a more than competent pianist (one writer in London described his playing of the brilliant fortepiano solo in the Symphony No 98 as ‘neat and distinct’), he was by his own admission no ‘wizard’ on the keyboard, and unlike Mozart and Beethoven never wrote sonatas for his own performance. Yet the keyboard remained central to Haydn’s creative process. His morning routine would invariably begin with him trying out ideas, for whatever medium, on the clavichord, the harpsichord or, from the 1780s, the fortepiano; and he composed prolifically for keyboard through most of his adult life, beginning with the harpsichord works he produced for aristocratic pupils during his ‘galley years’ in Vienna and culminating in the three great sonatas (Nos 50–52 in Hoboken’s catalogue) inspired by the sonorous Broadwood instruments he encountered on his London visits.

Through the songs or ‘chansons’, we are given the chance to be transported back to a point when the word, note, instrument and performer collided to document impressions of a world lived long ago and yet with which we share so much. As songs that had a vibrant life beyond the words, we are afforded an entrance into the evergreen world of instrumental music of the Renaissance, into music that filled the taverns and dwellings of Paris and beyond. This is why these works maintain such relevance for us today. For Chansons musicales is not simply an exercise in museum-driven reconstruction, notwithstanding the world-class research that underpins the project. These are living and breathing works.

This recording presents the entire output to date for guitar of Toshio Hosokawa, one of Japan's most prolific composers for the instrument. His affinity for the guitar stems from his familiarity with popular songs accompanied by the guitar and from his knowledge of the koto, a traditional Japanese instrument from which he has adopted certain playing techniques. Although the works gathered here call for a variety of forces - guitar solo, guitar and voice, guitar and instrumental ensemble - they all present a fundamental aspect of Toshio Hosokawa's output: the music seems to be born like a calligraphic line 'at the limit of time and space'.

Tenor Charles Castronovo celebrates his first Delos solo album with an all Verdi programme which showcases the composer's spellbinding use of theatrical devices. Noble Renegades offers a collection of complete scenes from operas such as Don Carlos, Luisa Miller and I Lombardi which encompass the emotional arc the protagonists experience as the story unfolds, very much epitomizing Verdi's vision of opera as a true "operatic theater". This album shows Verdi's profound influence on Charles's career, featuring roles he has performed all over the world. He is accompanied by "the singer's dream collaborator" Constantine Orbelian and his Kaunas City Symphony Orchestra. Distinguished singers Kristin Sampson, Tomas Pavilionis and Tadas Girininkas, as well as the Kaunas State Choir join in.

Following the series devoted to Korngold's string quartets, here is the first instalment in a new project by Alma Quartet and Challenge Classics. In five CDs the Alma Quartet will bring out the late string quartet output by Beethoven and Shostakovich. Each volume will couple a late quartet by the two composers, who shared a "late style" on this medium.

If the title of Dolores O'Riordan's 2007 debut Are You Listening? asked a question appropriate for the launch of a solo career, the name of her 2009 sophomore effort is a statement of purpose: she's heading into this next phase of her career with no expectations, No Baggage. Of course, she cannot leave behind her distinctive voice, nor does she wish to, as she gives her two trademarks – the breathy whisper and lacerating caterwaul – almost equal space here. That doesn't necessarily mean that O'Riordan relies on the familiar throughout No Baggage. Yes, this is instantly recognizable as her music – not just in that voice, but its blend of folk-rock and sighing, spacy rock that splits the difference between U2 and David Gilmour-led Pink Floyd – but No Baggage is bigger, brighter than Are You Listening? and as the album starts to hit its stride halfway through, she weaves in increasingly varied instrumentations, sometimes delving into pure worldbeat influence but more often using all these sounds as coloring on crisp, cheerful adult pop. These clean, open arrangements tend to make the songs seem catchier than they actually are – the hooks don't grab, they repeat like softened incantations that never quite catch hold – but that does give No Baggage an nice, gentle shimmer that's appealing.

• A scorching, vintage live album from blues rock phenom, Pat Travers, lighting the stage on fire with his signature guitar-wailing! • Travers devastates with smokin' hot versions of his best known songs including "Snortin' Whiskey," "Boom, Boom (Out Go The Lights)," "I La La La Love You" and more!