Arguably Australia's greatest pop group ever, The Go-Betweens seemed to save the best for last when they split in 1989. (They reunited in 1999, and have issued two more studio recordings since that time). 16 Lovers Lane is simply breathtaking; it is a deeply moving, aurally sensual collection of songs about relationships and the broken side of love that never lapses into cheap sentimentality or cynicism. Songwriters Robert Forster and Grant McLennan had always been visionary when it came to charting personal and relational melancholy and heartbreak, but here, their resolve focused on charting the depths of the romantic's soul when it has been disillusioned or crestfallen, is simply and convincingly taut.

Tallulah, the Go-Betweens fifth album, was supposed to be the band's breakthrough recording in America. That said, its sound is nearly a full-on break with the edginess that began to fade on 1986's Liberty Belle and The Black Diamond Express. More lush, rounded, and polished, it sounds like a record made in the mid-'80s thanks in large part to Lindy Morrison's use of drum programs in addition to her trap kit. Add to this the contributions of new member Amanda Brown on violin, oboe, and backing vocals and one has a revamped band. Fans didn't take to the new sound with kindness initially, but the songwriting of Forster and McLennan was so much more focused and taut, it more than compensates for production errors.

Robert Forster's endearingly fey persona, equal parts Bryan Ferry and gangly bookstore clerk, reaches full flower on the Go-Betweens' fourth album, which tempers the angularity and occasional claustrophobia of the band's previous work with a new airiness and nervous romanticism. The lighter sound can be partly attributed to the growing influence of co-leader Grant McLennan, whose wistful "Cattle and Cane" and "Bachelor Kisses" lent grace to the Go-Betweens' sometimes stilted early records. McLennan's touch is all over Liberty Belle and the Black Diamond Express his "In the Core of a Flame," a love song that manages to be at once tenderhearted and impatient, is a highlight but this is still mostly Forster's show, and as such is a revelation.

A singer and actress perhaps best known for her work in the landmark television miniseries Roots, Leslie Uggams was born May 25, 1943, in New York City. The product of a showbiz family her father sang with the Hall Johnson Choir and her mother was a chorus dancer she began her own career while still a child, making her TV debut at the age of six on the series Beulah. A year later, Uggams began performing regularly at the famed Apollo Theater in Harlem, opening for such legends as Louis Armstrong, Ella Fitzgerald, and Dinah Washington; she subsequently attended the Professional Children's School of New York, and frequently guested on television variety programs including The Milton Berle Show, The Arthur Godfrey Show, and Your Show of Shows.

One phenomenal composer-pianist’s homage to another. Samuil Feinberg’s music is here championed by Marc-André Hamelin, whose performances are sensitive to all its shadows and anxieties while being—of course—fully equal to the prodigious technical demands.

The Mozarts—father Leopold and son Wolfgang Amadeus—bookend a virtuosic recital from Ursula Paludan Monberg, who traces the development of the natural horn as a solo instrument throughout the eighteenth century.

Jēkabs Jančevskis is a young Latvian composer and an exponent of that thrilling, accessible brand of choral writing which flourishes in the Baltic States as nowhere else, and which has become something of an established Hyperion enthusiasm.

Nino Rota is famous for his unforgettable film music but he also devoted himself a lot to chamber music which, in the exchange of his production, is of great importance. This album features some of the most significant pieces, many of which are authentic rarities, which show the great mastery of writing inherited from his famous masters, Ildebrando Pizzetti and Alfredo Casella.

Legendary Italian conductor Carlo Maria Giulini leads the Philharmonia Orchestra and Chorus in this stunning performance of Verdi's late and contemplatvie work, "Four Sacred Peaces".

Jean-François Paillard leads his chamber orchestra in this reference recording of Haydn's Concertos for Trumpet, Horn, Organ & Viola, including the Trumpet Concerto No. 2 in D Major, the Horn Concerto in D Major, P. 134, and the Concerto for Organ and Viola in C Major, P. 55.

Christian Ferras, like Yehudi Menuhin, was a pupil of George Enescu. Born in France in 1933, he performed as a young man with such figures as Menuhin, Pablo Casals, Wilhelm Kempff and Karl Böhm, going on to become one of Herbert von Karajan’s favourite violinists. His career was cut short by depression, but this 1958 recording of the Tchaikovsky and Mendelssohn concertos shows his artistry – remarkable for its precision and uncontrived beauty – in all its youthful glory.

Ludwig van Beethoven betrachtete die Missa solemnis als "das gelungenste seiner Geistesprodukte".

Dom Flemons is known as “The American Songster.” The talented multi-instrumentalist was a member of the Grammy®-winning Carolina Chocolate Drops from their inception in 2005 through 2013, and has performed with artists including Guy Davis, Old Crow Medicine Show, and Taj Mahal.

You Already Know, the New Deal/Impulse! debut from the acclaimed drummer Ted Poor—“a trustworthy engine in countless modern-jazz settings,” per the New York Times—isn’t your typical jazz drummer’s recording, almost defiantly so. But if you’re at all familiar with the Seattle-based Poor’s explorative career—or the wide-ranging work of his principal collaborators here, the deeply influential guitarist-producer Blake Mills and the saxophonist Andrew D’Angelo—this should come as no surprise.