We have created our new album with the idea of making it sound like a soundtrack to a futuristic, psychedelic, outland story. We have tried to create the album with as many different threads of electronic music as possible and on the other hand to preserve our recognizable climate and style known from the past. The PSYKINESIS album contains delicate, ambient, swaying, melancholy moments as well as disturbing, heavy, broken, industrial, often acidified and psychedelic threads. We believe that you will like our new material and listening to it will help you imagine a scenario of your original story which will be inspired by our sounds.

A wicked curse, a fairy’s blessing and the triumph of love: The Sleeping Beauty is one of the best-loved of all stories. In this sparkling new album from The Australian Ballet and ABC Classics, favourite moments from Tchaikovsky’s sumptuous score are woven together by narration from peerless Australian actor David Wenham (The Lord of the Rings, Van Helsing). The perfect Christmas gift for lovers – both young and old – of ballet, beautiful music and classic tales.

Frank Sinatra always saluted his audience with a toast: "May You Live To Be A Hundred And The Last Voice You Hear Be Mine." Envisioned as a child's first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, 2017, Universal Music Group released Frank Sinatra: Baby Blue Eyes… May The First Voice You Hear Be Mine.

Pianist Eliane Elias follows her Latin Grammy win for 2017's magnificent Dance of Time with this set of tunes from the iconic musical Man of La Mancha. During the mid-'90s, Elias was approached by Mitch Leigh, the Tony-winning composer of her musical; he'd followed her career and greatly admired her work. Accompanied by Neil Warner, arranger for the original musical, he commissioned the pianist to rearrange songs from the show. Elias was given complete freedom to choose which songs she wished to record. She hired two rhythm sections: One featured drummer Jack DeJohnette and bassist Eddie Gomez; the other bassist Marc Johnson, drummer Satoshi Takeishi, and master percussionist Manolo Badrena (who plays with both groups). Elias and her sidemen recorded nine songs live in studio. Unfortunately, the completed album was shelved due to contractual issues and seemed doomed to obscurity. Leigh passed in 2014 and never saw its release. Concord rescued the album and added it to their catalog some 23 years after recording.

Radio broadcast from KSWM. Recorded in 1999, this show contains fantastic duets of Linda Ronstadt and Emmylou Harris in San Francisco. Featuring Buddy Miller and Bernie Leaden.

The six string acoustic guitar is a very versatile and beautiful instrument. Up until recent years the fingerstyle repertoire has focused on folk, blues and ragtime compositions. Only in the last years has the wealth of Irish music with its beautiful melodies and driving dance rhytmes begun to be explored.

Several attempts have been made over the last sixty years or so to record all Robert Schumann’s works for solo piano, a fascinating cosmos full of variety that ranges from extremely virtuosic pieces for the concert hall to valuable literature for piano tuition. This attractive but difficult quest has unfortunately been marked by a lack of the necessary care, not to mention purely artistic deficiencies, so that none of the releases deserves the name “complete recording”. Since Schumann published several works (Impromptus op. 5, Davidsbündlertänze op. 6, Symphonic Studies op. 13, Concert sans Orchestre or Sonata in F Minor op. 14 and Kreisleriana op. 16) in two more or less different versions, it is not legitimate in a “complete recording” to include only one of the versions, let alone to amalgamate two of them.

Andreas Romberg explored new musical territory when he got the idea to include Turkish colour in his fourth symphony. It was not until the romantic era that Oriental or Arabian colour very deliberately was incorporated into symphonic music, whether in Nikolai Rimsky-Korsakov's Scheherazade (1888) or in Engelbert Humperdinck's Maurische Rhapsodie (1898). Right in the first movement of his symphony Romberg used the title 'A la turca' to get his audience to anticipate Turkish colour. The gradually intensified initial part goes over into a passage with the expected percussion accents and swiftly whirling violin figures. Wolfgang Amadeus Mozart's Violin Concerto in A major, the last of his five violin concertos, is also regarded as a concert piece with Turkish colour. In the rondo finale there is a famous interlude in A minor in which the violoncellists and double bassists beat the rhythm on the strings with their bow sticks. This too produces the popular 'Alla turca' flair.

Die Vertonung der Worte und Verse im Sinne des heute bekannten Kunstlieds begann erst im 19. Jahrhundert vollumfänglich. Die Poesie der Romantik verhalf dem Kunstlied letztendlich zum Durchbruch und stellte es bei den um 1860 immer beliebter werdenden Liederabenden gleichbedeutend mit den damals so gern gehörten Opern und Symphonien. Dichtung, Melodie und Klavierbegleitung verschmelzen zum Ganzen und sind Ausdruck der Romantik. Adolph Kurt Böhm - mit seinem immerwährenden Hang zum romantischen Lied - hält diese Werte hoch und in Ehren. Als Komponist hat er sich seit mehreren Jahrzehnten dem Kunstlied verschrieben und schenkte so vielen deutschen Dichtern wie Joseph von Eichendorff, Wilhelm Busch, Heinrich Heine, Manfred Kyber, Annette von Droste-Hülshoff, Hermann Hesse, Theodor Storm, um nur einige zu nennen, eine musikalische Heimat.

This is the fifth instalment of DG’s series of seven Mozart operas conducted by Yannick Nézet-Séguin, and initiated by Rolando Villazón, in collaboration with Festspielhaus Baden Baden and with the generous support of ROLEX For La Clemenza di Tito, Mozart’s last opera about the benevolent Emperor Titus who pardons an attempt on his own life, Rolando and Yannick – new music director of the MET – are joined by outstanding partners: A stellar cast in every role and specialist handpicked orchestra playing at their best in the stunning venue of Festspielhaus Baden-Baden Rolando adds yet another intriguing Mozart role to his already large discography. This time it is his role debut as Tito, reinforcing again his love for Mozart: “No composer has spoken to as directly as Mozart. I feel like I have a soul mate in him.”

Dame Sarah Connolly’s exceptional nocturnally inspired recital spans over 120 years of British song from Stanford to Turnage, and includes world premieres of two songs by Benjamin Britten. Marking Sarah Connolly’s Proms recital debut, the centenary of Sir Hubert Parry’s death, and British composers in general, who studied or taught at the Royal College of Music, this album is an astonishing collection not to be missed.

Aram Khachaturian conquered the world with the boundless delight he took in composing. His Sabre Dance found its place in advertising, his Adagio from the ballet Spartacus accompanied a cult series, and prominent ice skating pairs danced their way into the hearts of their spectators to the Waltz from his stage music to Lermontov's Masquerade. On the other side, his symphonic music and concertante works even today continue to attract the greatest conductors and soloists. A unique, often imitated, but never reproduced synthesis consisting of fascinating instrumental virtuosity, exotic melodies, highly imaginative harmonies, and irresistible rhythmic spirit distinguishes the three concertos and three concert rhapsodies written by Aram Khachaturian during 1936-46 and 1961-67, and this double trilogy begins its cpo journey with the earliest and latest of these works.

The opening night of Marc Blitzstein s The Cradle Will Rock was one of the most infamous in history. The attempt to shut down and censor the production resulted in an improvised performance with Blitzstein playing his score on the piano, which has influenced performances of this American masterpiece for decades. Now, this First Complete Recording of The Cradle Will Rock - recorded live at Opera Saratoga in July 2017 - restores Blitzstein s brilliant original orchestrations to their full glory. Under the baton of conductor John Mauceri and direction of Lawrence Edelson, this remarkable production of the fable of Steeltown USA, corrupted at every social level by the predations and capitalist cupidity of its boss-man, Mr. Mister, was hailed by the Philadelphia Inquirer as having no polite veneer to soften Blitzstein s social outrage, with a cast that had the scrupulousness of opera but the theatricality of Broadway. Straddling the worlds of opera, musical theater and popular music, The Cradle Will Rock is as timely and entertaining today as when it first premiered in 1937.

This limited 4-CD edition of previously unreleased live recordings from the Verbier Festival celebrates the festival’s 25th anniversary.