PRIMAVERA IV the heart is the fourth of six albums in a momentous series encompassing 81 world premieres for solo cello. A collaboration between cellist Matt Haimovitz, artist Charline von Heyl, and director Jeffrianne Young, THE PRIMAVERA PROJECT is inviting 81 composers to respond to two paintings, Sandro Botticelli’s enigmatic painting, Primavera (ca. 1480), and the prophetic large-scale triptych, Primavera 2020, by world-renowned contemporary artist Charline von Heyl.

The album joins the label’s other critically and commercially successful recordings, which continue to be streamed by thousands of listeners around the world, including In The Bleak Midwinter which was released in 2021. Rutter Orchestral Carols includes beautiful orchestral arrangements of well-known favourites such as Silent Night and Sans Day Carol as well as Rutter’s original carols All bells in paradise and All the stars looked down, which is dedicated to the late Sir Stephen Cleobury. “It was a pleasure to record a handful of John’s carols, some old, some new, in these colourful orchestrations… hopefully these new tracks will add a bit of magic to people’s Christmas this year,” said Daniel Hyde, Director of Music, King’s College

On the cover of this album you can see a picture of New York taken in Hoboken, New Jersey where we recorded these tracks. To me it represents the beauty of a familiar place seen from a different perspective. I come from a small town in Austria called Judenburg. If my family when I moved to the next bigger city, Graz, it felt like the navel of the world. Graz is considered provincial for the Viennese.

This one-and-only recorded collaboration between jazz greats Geri Allen and Kurt Rosenwinkel took place live at the famed Philharmonie de Paris in 2012—the two play as if with one mind. Geri often spoke of her desire to do a studio recording to document the ‘flow and freedom” she experienced playing with Kurt that night in Paris. Unfortunately, we lost her before that date never materialized, and fortunately, that concert was recorded. The acoustics in this hall are magnificent, This album, produced by Kurt Rosenwinkel and Motéma's Jana Herzen is dedicated to Geri's memory and is truly a 'lovesome thing' for fans of Geri, of Kurt, and of piano and guitar jazz.

This new album is conceived as a mirror of our previous disc. Our aim is not so much to recreate a religious office but, rather, a concert programme in which the innovations of John Dunstable, Nicholas Ludford and William Whitbroke converse with our ymaginacions.

Thomas Guthrie's arrangement of the "Schöne Müllerin" for small ensemble transports the listener back to a world of sound that Schubert knew from the musical evenings in the homes of his friends - those gatherings where the singing was accompanied by guitars, strings and, if available, a piano. Unlike the lieder recital, where the singer stands at the grand piano in a large hall, in this intimate atmosphere the listener is drawn much more into the drama and emotion of Schubert's music. The singer Thomas Guthrie is supported by Bjarte Eike and members of his ensemble Barokksolistene.

Annabelle McCauley Allan Short (25 July 1930 – 21 July 2020), known professionally as Annie Ross, was a British-American singer and actress, best known as a member of the jazz vocal trio Lambert, Hendricks & Ross.

The Black Keys’ fifth full-length LP, Attack & Release, follows their 2006 critically acclaimed Nonesuch debut Magic Potion, which the Chicago Tribune proclaimed, “a gritty, wild, minimalist masterpiece.”

Luiz Floriano Bonfá (17 October 1922 – 12 January 2001) was a Brazilian guitarist and composer. He was best known for the compositions he penned for the film Black Orpheus.

"Keep The Village Alive" is the ninth studio album from Stereophonics following the critically acclaimed, platinum selling "Graffiti On The Train". Once again Kelly Jones has written all the songs and shared production duties with long time collaborator Jim Lowe. The album was recorded at ICP Studios in Brussels and at their own Stylus Studios in London. The album includes the superb brand new single "C’est La Vie".

Portuguese virtuoso Artur Pizarro makes a welcome return with works by two brilliant pianist-composers. The Brazilian Henrique Oswald and the Portuguese Alfredo Napoleão were born in the same year, less than three months apart. Both were child prodigies who became concert pianists, pedagogues and composers. Oswald's Piano Concerto dates from about 1886. Although influences of Faure can be detected, its overall character owes more to the late Romantic German style. Napoleao's Piano Concerto No.2 is undated but was probably composed around the same time as Oswald's. Pizarro is only the third pianist to champion this spectacular work.

On this Hyperion's release, Alban Gerhardt performs the three concertos by Hans Pfitzner. Pfitzner's early Cello Concerto in A minor was scorned by his teachers (although liked by the composer himself). His Cello Concerto Op.42 is a beautifully constructed work that derives its material from a lyrical cello solo heard at the very start of the work. The Cello Concerto Op.52 is dedicated to Ludwig Hoelscher, a pupil of two giants of German cello-playing: Hugo Becker and Julius Klengel. As a bonus, the recording also includes Pfitzner's Duo for violin, cello and small orchestra.

Another one of Stan Getz's early 60s forays into the world of Brazilian music, recorded only days after his legendary sessions with João Gilberto. His special guest on this 1963 recording is virtuoso guitarist Laurindo Almeida who was famous for fusing jazz and classical guitar with traditional Brazilian genres. Almeida had done countless session gigs and was well-known to jazz fans for his work with Stan Kenton's big band in the late 1940s. The rhythm section on this album is a swinging blend of American sidemen, including Steve Kuhn on piano and George Duvivier on bass, and Brazilian percussionists.

Released in 1987, "The Dance Collection" is a dynamic, one-of-a-kind compilation from the disco sensation. The recording captures Summer’s biggest hits as they would be enjoyed in clubs. With bigger productions and orchestrations, "The Dance Collection" includes the hits, “Hot Stuff”, “Last Dance”, the “MacArthur Park Suite”, “No More Tears”, “Bad Girls” and much, more. This is arguably Summer’s best collection.

The "Live And Let Die" Soundtrack marked several musical firsts: it was the first James Bond soundtrack that did not involve John Barry, it was the first time a rock song was used as a Bond theme and it was Paul McCartney's first post-Beatles reunion with producer George Martin. The title track has become one of McCartney's biggest hit singles: "Live And Let Die" was nominated in 1974 for an Academy Award for Best Original Song, it sold over a million copies and peaked at number two on the Billboard Hot 100.