This CD is unheard, for, as far as we know, none of this music has ever been issued before on a CD or gramophone recording. But this recording is also unheard-of, since every piece conveys the force of artistic necessity, of an uncompromising, selfless idealism, on which the Nazis laid a curse, but which went to make the music of the Interwar period so rich and engrossing. In short, the present CD provides a supplement to the incomplete history of the music of this period, and brings unjustly forgotten composers to life once again.

Arias & scenes from l’Orféo et Euridice, Ascanio in Alba, Antigona et Ifigenia in Tauride (Traetta), Il trionfo di Clelia (Hasse), Artaserse (Bach), Ezio (Gluck), Mitridate (Mozart)

The cast recording of the recent, highly acclaimed, sold-out Broadway revival of Sunday in the Park with George, starring Jake Gyllenhaal in his Broadway debut and Tony-winning actress Annaleigh Ashford, is set for release on December 8 via the Arts Music division at Warner Music Group.

From 1920s Vienna and the Berlin of the Weimar Republic to emigration to the USA, then back to Vienna after the defeat of Nazism, to end his days in East Berlin: Hanns Eisler’s life was one long exile against the backcloth of the artistic, technical, and political revolutions of the 20th century. Distance, irony, and melancholy are the aesthetic corollaries that characterise the lieder presented here, their atmosphere often evoking the despair of those dark times. The early piano sonata gained the young Eisler an admiration that has never dimmed since.

Isabelle Faust's first recording for harmonia mundi, Bartok Sonatas, won her a Gramophone Young Artist of the Year. Here she returns to Bartok, perfoming the two concertos, accompanied by Daniel Harding and the Swedish Radio SO.

If every work of art can be understood as the docile or rebellious descendant of dozens, indeed hundreds of other works of art, the immense majority of Wolfgang Rihm's compositions fully assume the heritage of the past. This is especially true of 'Nähe fern', whose title (‘Distant proximity') refers to his experience of the four symphonies of Brahms. Each of these pieces for orchestra is a homage profoundly linked with its model, yet at the same time constantly moves away from it. Commissioned by the Lucerne Sinfonieorchester 'Nähe fern' was premiered at the Lucerne Festival on 20th August 2012.

“This program is like an American quilt – the individual parts are unique and very different from one another, but it comes together to form one rich tapestry. I would like to give our audience a picture of some of the rich traditions that developed out of our European heritage, but flourished and grew in their own unique way in the New World.” Joel Frederiksen

The unjustly neglected piano quartet (J76) was completed in September of the year 1809, which the 22-year-old Weber spent in Stuttgart. It was originally offered to the publisher Hans Georg Nägeli, but he rejected it, advising the composer that it created wanton ‘confusion in the arrangement of its ideas’ and indeed too obviously imitated the ‘bizarreries’ of Beethoven.

Now attributed to Pergolesi on the basis of recent research, the ‘Seven Words of Christ’ has been regarded as ‘one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty’ [Hermann Scherchen, on its discovery in 1930]. However, his judgment has remained unheeded and only the discovery of two more manuscripts in the abbeys of Kremsmünster and Aldersbach, by the musicologist Reinhard Fehling, prompted the firm of Breitkopf & Härtel to publish a critical edition.

At 21, Brahms sang his youth and the Nordic landscapes in his first Trio, Op.8. At 50, just prior to leaving for America, Dvořák unrolled six musical reveries in his ‘Dumky’ Trio. These two composers who admired each other, made the piano trio one of the perfect genres for confidence and nostalgia.

In the context of the War of the Spanish Succession, the duty of any composer was to celebrate not only the greatness of a deity in religious pieces, but also the power of their sponsors. Jordi Savall invites us to relive the creation of two dazzling masterpieces of polychoral music : the Missa Scala Aretina by Francesc Valls (one of the last pieces to make overt reference to Guido of Arezzo’s famous hexachord) and the Mass for 2 Choruses and Orchestras by Henry Desmarest. The surface of the music is immediately engaging : it is a beguiling mixture of old and new, full of incidence, with choir, soloists and parts for strings and trumpet. Jordi Savall and his ensembles pay due homage to these masterpieces.

Celebrating the 300th anniversary of Gluck’s birth, Daniel Behle presents this album of Gluck’s lesser known opera arias. Showcasing their rich variety of styles, he illustrates that these works are primed for revival.

As perhaps should be expected from a double-disc collection bearing 30 tracks, Just One Look: Classic Linda Ronstadt does indeed cover most of Ronstadt's career, beginning with the Stone Poneys' "Different Drum" and running into the late '90s, when she wrapped up her time with Elektra Records. This doesn't mean each era gets equal weight, however. Just One Look emphasizes her latter-day adult contemporary material over her cracking early country-rock, a trade-off that will likely satisfy listeners familiar with Ronstadt mainly through the radio. This does mean there are some terrific works left behind her big breakthrough "You're No Good" comes just six songs into this collection, so anything prior to that gets short shrift, but this settles into a good soft rock groove and should satisfy a listener who wants nothing but hits, and a lot of them at that.

We have been hearing about Leah Turner for a little while now. It seems like every day someone we have talked to has mentioned her. Her Bio begins with “Leah Turner has a ready laugh that conveys all the joy and adventure she finds in life, and a voice with the power and grit to personify its ups and downs. The combination makes her one of country’s most compelling new artists, someone with the talent and personality to own any stage or studio she walks onto. It’s earned her a spot on Brad Paisley’s 2014 tour and made her debut single, her co-penned track with Cary Barlowe and Jesse Frasure, “Take the Keys,” a Top 40 hit at country radio.

Need a catchy, upbeat jam that will have you skipping on your way to work? That’s what I found when I started listening to Taylor Acorn‘s “Put It In A Song,” the first single off her debut EP of the same title. The singer-songwriter left college after 2 years to pursue her dream of becoming a singer in Nashville, and has been working toward this moment since 2013. “This is everything that I’ve worked so hard on for the past 2 years. Before I even started recording anything, I was writing everything on my own in my bedroom,” Taylor shared with HollywoodLife.com.