The GSC compilation 36 All-Time Greatest Hits does offer three-dozen solid songs by Dinah Shore, one of America's foremost entertainers from the '40s to the '60s, though they're scattered across three discs and the performances are of a dodgy vintage…
Breton harpist Alan Stivell brought the Breton harp out of the pages of history and into reality. He's also been a groundbreaker, with his innovative interpretations of traditional Celtic music. (…) Zoom is quintessential Stivell. A must-have album. The only drawback to the album is that the liner notes are in French.
"Felix August Bernhard Draeseke was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.During his life, and the period shortly following his death, the music of Draeseke was held in high regard, even among his musical opponents. His compositions were performed frequently in Germany by the leading artists of the day, including Hans von Bülow, Arthur Nikisch, Fritz Reiner, and Karl Böhm. However, as von Bülow once remarked to him, he was a "harte Nuß" ("a hard nut to crack") and despite the quality of his works, he would "never be popular among the ordinary"." ~Wikipedia
This 60th Anniversary 60-CD Deluxe Edition celebrates RCA Victor's signing of Elvis Presley-The King of rock 'n' roll. Features all of the albums Elvis recorded and RCA released in his lifetime: studio, soundtrack, and live. It also includes compilations released that featured unreleased songs or songs new to the LP format.
A very different set than Teldec's Bach 2000. The Hanssler Bachakademie, supervised by Helmut Rilling, is not HIP (historic instruments performance). The orchestras are warm and lush (but not huge). The soloists are, in general, extraordinary. The tempos are sane. Hanssler has included fragments of some incomplete BWV's that are not included in the Teldec set; a minor plus but appealing. I found I preferred these traditional instruments and the daring using of forte-piano in place of harpsichord on a few of the recordings (flute sonatas). Highlights for me are The Well-Tempered Clavier Books 1 and 2, Musical Offering, Flute Sonatas, The Motets. I also found I prefer these Cantatas recordings to any other, including the new Koopman, Suzuki and the well-known Leonhart-Harnoncourt. While not the newest recordings, the sound is warmer which I prefer to the new state-of-the-art HIP recordings. Although most of the Cantatas are older recordings, much of the Hanssler Bachakademie edition is newly recorded for this project and the sound is consistent and excellent.
From the notes:The first time Fritz Busch had conquered the concert stage in London had been on 4 November 1929, when he directed Brahms' Violin Concerto at the Queen's Hall, featuring the London Symphony Orchestra and young prodigy Yehudi Menuhin. It is, however, strange to see that Fritz Busch recordings from London (apart from any recording sessions made in connection with the Glyndebourne Festival) date from only the short phase of 1934/36. Notes by Dr. Jürgen Schaarwächter, Max-Reger-Institut, Karlsruhe, 2009