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Mike Oldfield, watch out. This all-instrumental album, consisting of two long pieces ("Slow Dance Parts 1 and 2") that mix new age sounds with rock, crosses into territory staked out most successfully by the tubular bell-ringer, and comes off as sort of Windham Hill with a beat. This material features clarinet, oboe, flute, trumpet, harp, and percussion as well as guitar, and it does sort of resemble the spacy synthesizer interludes and bridges found as parts of the longer pieces on Genesis's progressive-era albums…

Antonio Vivaldi (1678-1741) remains best known as a composer of virtuosic instrumental music, particularly in the form of concertos like The Four Seasons. This CD, first released in 1991, demonstrates that Vivaldi’s large-scale sacred choral music is equally stunning.

A contemporary of Lully and Lalande, Marc-Antoine Charpentier (1643-1704) was something of an outsider to the French court of Louis XIV, which helps to explain his comparative obscurity. A period of study in Rome doubtless gave Charpentier exposure to the polychoral style long-established from the time of Gabrieli, and this recording presents the triple-choir Salve Regina alongside the opulent Messe à quatre chœurs – written for four separate choirs, with a large continuo team of four organs, four theorbos, bass viol and great bass viol! The possibilities opened up by such a wealth of musicians engender music which seems as close to the proverbial “choir of the angels of heaven” as could be desired.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule – on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the “Meininger Bach,“ highly regarded by J. S. Bach, are a treasured enrichment of the repertoire.

Ex Vitae were a jazz group from Limoges that created their only album in 1978. Ex Vitae offers original and tempting themes. The album presents an interesting crossing of electric jazz and Progressive rock. You will remark a slight influence of Moving Gelatine Plates with regard to the construction of the themes and the use of a wide range of instruments.

Director of music to the Darmstadt court, Graupner's output almost equalled that of Telemann and certainly surpassed that of J.S. Bach: he composed a number of operas, many concertos and orchestral suites, chamber music, keyboard works and more than 1400 church cantatas. Almost the entire body of Graupner’s work has survived in autograph but hardly any of his compositions were published during his lifetime or afterwards. Fortunately they were not burnt after his death as he himself wished, but were the subject of a legal dispute between the landgrave and Graupner’s heirs. Thanks to this the complete archive was taken to a place outside the city and thus spared a second burning, as very little of the old city of Darmstadt would be spared during the Second World War.

The Traveller, for choir, children’s choir, orchestra, tenor, violin and speaker, was the third in a series of four major works with words by Vikram Seth and music by Alec Roth, commissioned jointly over four years by the Salisbury, Chelsea and Lichfield Festivals (2006-09). Each work featured the violinist Philippe Honoré as soloist, and each took a different geographical/cultural area as its starting point.