The prolific Finnish composer Kalevi Aho periodically undertakes large-scale compositions that showcase the full breadth of his artistic abilities. The Symphony No. 17 exemplifies this tendency, representing his most ambitious orchestral work to date. The symphony requires a substantial orchestra, incorporating less common instruments such as the lupophone, a variation of the baritone oboe, and the contraforte, an acoustically enhanced contrabassoon.

The Berliner Barock Solisten ensemble, founded by members of the Berliner Philharmoniker and the then concertmaster Rainer Kussmaul, has set itself the task of cultivating historically informed performance practice with modern instruments. It was these very violin concertos that were featured on the ensemble’s first CD recording.

Sonate en trio est un domaine encore relativement peu exploré de l'œuvre immense du deuxième fils de Johann Sebastian, davantage connu pour ses sonates et concertos pour clavier — ou ses symphonies — , que pour sa musique de chambre. Pièces de début de carrière dans l'ensemble, elles relèvent d'un schéma alors déjà archaïque (la sonate en trio laissant bientôt place au trio) que le compositeur n'abordera d'ailleurs plus après 1756. Il est du reste étonnant de constater qu'un musicien aussi novateur que Carl Philipp Emanuel Bach ait pu ignorer des formes plus modernes, comme le Quatuor à cordes, ne composant que trois quatuors pour claviers et cordes, Wq. 93 à 95 ; au demeurant fort beaux.

Carl Maria von Weber wrote music that has been admired by composers as diverse as Schumann, Berlioz, Tchaikovsky, Debussy, Ravel and Stravinsky. But in his lifetime he was also recognised as one of the finest pianists of the period, with an exceptional technique and a brilliant gift for improvisation. Especially during the 1810s he toured extensively, and like other composer-pianists he wrote works to use as his personal calling cards, among them the two piano concertos recorded here. They were both composed in 1811-12, but while the First Concerto takes Mozart's concertos as its model, Piano Concerto No. 2 looks towards Beethoven.

L'influence de Francois Couperin sur ses contemporains et ses successeurs de l'école francaise de clavecin voire même à travers l'europe, tel est le programme éminement didactique de Davitt Moroney dans son pur style des années 1990, celui des émissions qu'il animait sur France Musiques.

Anyone interested in a high-quality performance of Mozart's violin concertos on period instruments needs to look no further than this inexpensive set. All the youthful exuberance of the music comes through brilliantly in this interpretation, enhanced by the transparent texture of period instruments. Everything from tempi to dynamics is well-chosen and well-rendered, and nothing stands out as being out of place.

“Land Of Dreams” is a 1988 studio album by Randy Newman, released on Warner Bros. Records, marking a reflective and narrative-driven phase in his career. Known for his distinctive songwriting style that blends satire, storytelling, and emotional depth, Newman delivers an album that explores themes of memory, identity, American culture, and personal reflection. The production combines soft rock and pop rock elements with warm, understated arrangements that allow the lyrical content to remain central. Across the album, Newman’s piano-driven compositions are supported by subtle instrumentation, creating an intimate and cinematic atmosphere. His lyrics often shift between irony and sincerity, painting vivid character studies and social observations. Tracks like “It’s Money That Matters” and “Dixie Flyer” highlight his ability to merge storytelling with accessible melodic structures. “Land Of Dreams” stands as a thoughtful and mature work, reinforcing Randy Newman’s reputation as one of the most unique songwriters in modern popular music.

“Get It Out'cha System” is a 1978 studio album by Millie Jackson, released through Ace Records, showcasing her signature blend of soulful storytelling, funk-driven grooves, and emotionally direct R&B performance. The album captures Jackson’s bold vocal personality and her distinctive ability to combine music with spoken-word commentary, creating a raw and expressive listening experience. Across the record, she moves between heartfelt ballads and rhythmically engaging tracks, supported by tight arrangements rooted in late-1970s soul and funk production styles. The songs often explore themes of relationships, emotional conflict, and personal honesty, delivered with humor, intensity, and unapologetic realism. Her vocal delivery remains central throughout, shifting effortlessly between tender expression and powerful assertiveness. “Get It Out'cha System” stands as a strong example of Millie Jackson’s unique artistic identity and her influence on modern soul performance and narrative-driven R&B.

“The Songstress” is the 1983 debut studio album by Anita Baker, later reissued in 1991 by Elektra Records, and it marks the beginning of her rise as one of the most influential voices in contemporary soul music. The album blends smooth R&B, subtle funk elements, and classic soul influences, showcasing her rich contralto voice and emotional depth. Throughout the record, Baker delivers refined vocal performances that emphasize feeling, restraint, and expressive control rather than vocal excess. The production is rooted in early 1980s soul aesthetics, featuring soft grooves, melodic basslines, warm keyboard textures, and gentle rhythmic structures. Lyrically, the songs revolve around love, heartbreak, longing, and emotional reflection, creating a cohesive and intimate atmosphere. “The Songstress” stands as a foundational work in her career, establishing the signature style that would later define her success in modern soul and R&B.

“Ain’t Living Long Like This” is the 1978 debut studio album by Rodney Crowell, released on Warner Bros. Records, marking the beginning of his solo recording career after establishing himself as a respected songwriter in the country music scene. The album combines traditional country foundations with a strong country rock edge, featuring energetic performances, sharp arrangements, and a mix of original compositions and reinterpretations. Crowell’s songwriting reflects themes of restlessness, love, resilience, and life on the road, delivered with a raw yet melodic sensibility. The production captures a late-1970s Nashville sound infused with rock influences, driven by electric guitars, steady rhythm sections, and expressive vocal delivery. The inclusion of standout tracks like the title song highlights his ability to blend storytelling with strong musical hooks. “Ain’t Living Long Like This” stands as a significant debut that helped establish Rodney Crowell as both a performer and a major songwriting voice in country music.

“Street Language” is a 1986 album by Rodney Crowell released on CBS Records, representing a transitional phase in his career where traditional country songwriting is blended with a more contemporary rock-influenced production style. The album features tight arrangements, polished instrumentation, and a strong emphasis on lyrical storytelling. Crowell’s songwriting explores themes of personal freedom, emotional conflict, relationships, and introspection, delivered through a mix of upbeat tracks and reflective ballads. The production incorporates electric guitars, steady rhythm sections, and subtle keyboard textures, giving the album a modern mid-1980s sound while still maintaining its country roots. His vocal performance remains expressive and controlled, carrying emotional weight across each track. “Street Language” stands as a refined example of crossover country-rock, highlighting Crowell’s ability to adapt his songwriting to evolving musical landscapes without losing authenticity.

“Snowin' Under My Skin” is a 1999 studio album by Andru Donalds released on Virgin Records, showcasing his distinctive blend of pop songwriting, subtle reggae influences, and atmospheric new age textures. The album reflects a smooth and introspective sound palette, built around warm vocal delivery, soft rhythmic foundations, and layered melodic arrangements. Donalds’ expressive voice carries the emotional weight of the record, shifting between romantic themes, personal reflection, and slightly melancholic moods. The production is polished yet restrained, allowing space for acoustic elements, ambient textures, and understated groove sections. Tracks such as the title song highlight a more expansive and cinematic approach, while the rest of the album maintains a cohesive, relaxed flow. “Snowin' Under My Skin” stands as a calm, emotional, and melodic release that reinforces Andru Donalds’ identity as a versatile and atmospheric pop artist.

“Rhythm Of Love” is a 1994 studio album by Anita Baker, released on Elektra Records, showcasing her signature blend of sophisticated soul, smooth jazz, and contemporary R&B. The album reflects a mature artistic phase, where Baker’s rich contralto vocals are supported by refined arrangements, warm harmonic textures, and elegant production. It features a consistent mood of romantic introspection, focusing on themes of love, heartbreak, devotion, and emotional vulnerability. The instrumentation is smooth and polished, with subtle jazz influences, soft percussion, and lush keyboard layers that allow her vocal performance to remain the central focus. Tracks like “I Apologize” and “Body And Soul” highlight her emotional depth and interpretive strength, while the entire album maintains a cohesive, late-night listening atmosphere. “Rhythm Of Love” stands as one of her most polished and emotionally resonant works, reinforcing her status as a defining voice in contemporary soul music.