Dunedin Consort continues to apply its pioneering approach to recordings by releasing two alternative performing versions of one of Handel’s greatest dramatic works, Samson. This is the Full Chorus Version.
This version employs an authentic Handelian chorus, comprising both boy trebles from the Tiffin Boys' Choir and solo sopranos – a sonority largely unheard in the modern age.

Antonio Caldara’s (1670-1736) pastoral fable L’Amor Non Ha Legge (Love has no laws) was a commission by the wealthy Johann Adam Questenberg. Its characters portray shepherds, nymphs, fantasy figures and gods. Although written for a local cast, the music looks forward to the more complex structures and musical technicalities of Mozart. It took Caldara two weeks to compose this extraordinary work. It occupies three CDs and Arta add a bonus All Region DVD with highlights from Caldara’s opera and other recent productions at Questenberg’s Baroque mansion.

Four CD set. One of the first generation of British rock 'n' roll stars, Marty Wilde celebrates his 80th birthday with this very personal quartet of discs from across a musical career which spans over six decades. During the late 1950s, Marty was one of the biggest UK pop stars, with a string of Top 10 hits for Philips Records, on which he was often backed by The Wildcats. As the '60s dawned, Marty continued to enjoy chart success while evolving his sound away from American rock 'n' roll. In the mid-'60s, he also recorded as folk-pop trio The Wilde Three with wife Joyce (ex-Vernons Girls) and future Moody Blues star Justin Hayward. During the late 1960s, Marty became a hit songwriter for other artists, penning originals for The Casuals ('Jesamine'), Status Quo ('Ice In The Sun') and Lulu ('I'm A Tiger'). While his own career continued apace throughout the 1970s, Marty was also heavily involved with the launch of daughter Kim's career in the early 1980s. In recent years, Marty has fronted one of Britain's most respected rock 'n' roll bands. Marty is a unique celebration of Marty's long and illustrious career. While Discs One and Two are devoted to all of his early A's and B's, Disc Three unveils a hitherto unissued Radio Luxembourg performance from 1959 while Disc Four boasts a whole CD's worth of previously unheard demo recordings handpicked from Marty's own archive. Beautifully presented with remastered sound, detailed sleeve-notes and a booklet awash with images from across the years, Marty perfectly commemorates the musical legacy of one of Britain's most enduring talents who was awarded an MBE for his achievements.

Legendary band The Damned were the first UK punk band to release a single back in 1976. Along with the Sex Pistols and the Clash, they helped to spearhead the punk movement in the UK. As their career developed they became one of the first gothic rock bands and were a major influence on the goth subculture. They’ve had 9 UK Top 40 hit singles during their illustrious career and their latest album ‘Evil Spirits’ was their first top ten album upon its release last year. This new anthology will be the first ever, spanning the bands career and fully curated by them. •Features five Top 40 singles including 1986’s hit “Eloise” •“New Rose” was the first single released by a UK punk band •“Neat, Neat, Neat” also features on the critically-acclaimed soundtrack of 2017 film “Baby Driver”

David Bowie One of the greatest stars of the rock & roll era, David Bowie evaded easy categorization throughout his career, operating as the artiest rocker within the mainstream and the most accessible musician on the fringe. Bowie may have trafficked in ideas cultivated in the underground, but he was never quite an outsider as far as rock & roll was concerned. From the outset of his career in the 1960s, he attempted to break into the Top 40, playing British blues, mod rock & roll, and ornate pop before finally hitting paydirt as a hippie singer/songwriter. "Space Oddity" gave Bowie his breakthrough in the U.K., reaching the Top Ten in the summer of 1969 – the summer of Apollo 11 – and it belatedly performed a similar feat in America, giving him his first Top 20 hit early in 1973. By that point, Bowie had traded his folkie persona for the glam-rock alien Ziggy Stardust, one of the many shifts of sound and image that came to define his career.

The first thing that comes to mind when evoking French singer/songwriter Véronique Sanson is her voice. A warm, passionate, soothing voice, both uplifting and deep, coupled with fine piano playing, a combination that summons comparison with the likes of Carole King, Laura Nyro, or Janis Ian. Yet even though she was immensely talented and encountered wide success both inside and outside of France, she revealed herself best under the influence of the ones she loved and admired.

Goodbye Yellow Brick Road is the seventh studio album by Elton John, first released in 1973 as a double LP. It was the second of his two studio albums released in the same year of 1973 (first one was Don't Shoot Me I'm Only the Piano Player released 9 months earlier). The album has sold more than 30 million copies worldwide and is widely regarded as John's best. Among the 17 tracks, the album contains the hits "Candle in the Wind", "Bennie and the Jets", "Goodbye Yellow Brick Road" and "Saturday Night's Alright for Fighting" plus live favorites "Funeral for a Friend/Love Lies Bleeding" and "Harmony". In 2003, the album was inducted into the Grammy Hall of Fame. The album was ranked number 91 on Rolling Stone magazine's list of the 500 greatest albums of all time, and number 59 in Channel 4's 2009 list of 100 Greatest Albums. The album was also included in the book 1001 Albums You Must Hear Before You Die.

This album was unusual on several counts. For starters, it was a soundtrack (for Sam Peckinpah's movie of the same title), a first venture of its kind for Bob Dylan. For another, it was Dylan's first new LP in three years – he hadn't been heard from in any form other than the single "George Jackson," his appearance at the Bangladesh benefit concert in 1971, in all of that time. Finally, it came out at an odd moment of juxtaposition in pop culture history, appearing in July 1973 on the same date as the release of Paul McCartney's own first prominent venture into film music, on the Live and Let Die soundtrack (the Beatles bassist had previously scored The Family Way, a British project overlooked amid the frenzy of the Beatles' success).

To celebrate the 130th anniversary of Chaplin’s birth, we are excited to announce our collaboration with [PIAS] on a new double CD set of extracts from the film soundtracks in the Chaplin archives, out on April 12th 2019.
The Charlie Chaplin Film Music Anthology, compiled by the Chaplin Office, retraces many of the milestones in Chaplin’s music-composing career, from City Lights (1931), the first film he released with a score of his own creation, to the 1976 re-release of A Woman of Paris with a new score composed by Chaplin at the age of 86, not to mention extracts from Modern Times, The Great Dictator, Limelight, The Kid and more. The release includes a well-documented 20-page booklet that we scrupulously put together, illustrated with archival photographs.

This quote, which accompanies a vintage photograph of three African American women lifting their hands heavenward, is not only featured prominently in Put the Whole Armour On, a two-CD tribute to 1940s and 1950s female gospel artists, but it serves as an apt prelude to the collection. That is, notwithstanding the prominence of women in African American churches, most denominations did not allow women to become pastors. In response, some females became evangelists, saving souls through street corner oratory as well as gospel music. The 54 selections curated for this collection cover some of the most popular gospel singers of the golden era like Sister Rosetta Tharpe, Clara Ward, and Mahalia Jackson. Included is Jackson’s initial and unsuccessful but plaintively rendered Apollo Records release “I’m Going to Tell God.” The package also introduces lesser-known figures such as Madam Ernestin Martin, Mary Frazier, and Mari Brown, whose lilting voice delicately delivers “Did You Stop to Pray This Morning” with R&B pioneers the Johnny Moore Trio.

Passion Jaroussky marks 20 years since Philippe Jaroussky made his professional debut and commenced his rapid ascent to stardom. As the French countertenor says, “Even after all these years, my passion for music is undimmed.” Ranging musically from the 16th to the 21st century, the triple album comprises both new recordings and highlights from recent albums, and it also showcases Jaroussky’s collaborations with a host of major singers – from the worlds of both classical music and pop – instrumentalists, conductors and orchestras.

The chamber music of Clérambault has been a real voyage of discovery for The Bach Players. We mostly know Clérambault as the composer of many wonderful Cantatas. His chamber music is written in a very different style. Here he joins Elisabeth Jacquet de la Guerre and François Couperin in experimenting with the Italian style that gradually gained popularity in France. None of these works were published during his lifetime. We owe it to the good taste of Sébastien de Brossard, who copied these scores, that this wonderfully expressive music was preserved for us to enjoy today.

I have always viewed Dr. Weigl as one of the best composers of the old generation; one of those continuing the illustrious Viennese tradition' – Arnold Schönberg. This statement indicated that Weigl remained faithful to the late-Romantic aesthetic and use of tonality, shunning the more progressive contemporary trends being explored at the turn of the 20th century, as might be found in the music of Zemlinsky, Reznicek or Franz Schmidt. Weigl's style is well reflected in this programme that pairs the first of his six symphonies (written in 1908) with Pictures and Tales, a suite for small orchestra written in 1922.

Biopic The Dirt tells the story of Mötley Crüe's wild ride through their time as one of the most popular and most debaucherous bands of the metal years. During a blistering run that lasted the entirety of the '80s, the L.A. band sold millions of records, toured the world, and challenged death constantly with reckless behavior, substance abuse, and the kind of mayhem that sometimes seems like it only existed in the time when hair metal reigned. Some of these misadventures were collected in the 2001 book The Dirt, and the 2019 film adaptation of the book further dramatizes some of the group's already unbelievable antics, as well as getting into the music that made it all happen. The soundtrack to the film is made up entirely of music by Mötley Crüe, but in addition to 14 selections from their early catalog, they recorded four entirely new tracks in 2018 especially for inclusion in the film…

The J.S. Bach Foundation has embarked on a remarkable undertaking: over a period of some 25 years, the Foundation will perform the complete vocal works by Johann Sebastian Bach (16851750). Each month, one of the over 200 Bach cantatas is performed in the idyllic town of Trogen in Appenzell, Switzerland. With a rhythm of 12 cantatas per year, the project is estimated to conclude in the year 2030. All introductory workshops, concerts and reflection lectures on the cantata texts are recorded; the texts of the lectures are published in a continually expanding Bach Anthology. The main aim of the J.S. Bach Foundation's ambitious project is to provide a living Bach experience for today's listeners and to deepen our understanding of the great composer's works. The artistic director of the foundation is Rudolf Lutz, who rehearses and conducts all performances with the choir, orchestra and solo vocalists.