Sven Väth The Sound OF The 20th Season

This concert is Renee Fleming's very personal homage to 'Fin de Siecle' Vienna. At the turn of the last century, the capital of the Austrian Empire was also one of the cultural centers for the fi ne arts and, in particular, for music. The city of Haydn, Mozart and Beethoven, a 'melting pot' of cultures and musical traditions, attracted gifted musicians and composers alike and provided the perfect soil for much of the greatest music of that time. With this selection of works by Hugo Wolf (1860 -1903) and Gustav Mahler (1860 -1911), combined with more progressive songs by Alexander Zemlinsky (1871 - 1942), Arnold Schoenberg (1874 - 1951) and Erich Wolfgang Korngold (1897 - 1957), Renee Fleming presents to us the full variety of this unique epoch. The venue of her recital with Maciej Pikulski at the piano is, of course, the Golden Hall of the Musikverein Vienna.

The Shadows' fourth album (not counting hits collections) follows on from Dance with the Shadows. The common perception among Americans watching from afar and British historians who just don't know is that the Shadows were operating in a vacuum during the 1960s, oblivious to the pop music universe swirling around them, but their mid-'60s albums tell a different story – the band tries hard to be a mainstream rock & roll outfit without betraying their roots as a virtuoso instrumental ensemble…

Ottorino Respighi was in the vanguard of the 20th-century rebirth of Italian symphonic music. Famed for his Roman Trilogy, Respighi was also prominent in the synthesis of pre-Classical melodic styles and late-Romantic harmonies and textures. These are the elements that make the Ancient Airs and Dances so captivating and expressive, as Respighi draws on dances by 16th-century composers to brilliant effect. The Concerto allantica is an early, beautifully poetic work that again draws on ancient styles, in a recording that uses the first printed critical edition of the work by Salvatore Di Vittorio, published in 2019.

Violin’s golden age at the dawn of the 20th century saw virtuoso players Fritz Kreisler and Jascha Heifetz conquer the concert halls, and witnessed the heady music of Gershwin, Debussy, Satie, Bruch, and company. Ray Chen’s programme places Bruch’s Violin Concerto No. 1 at its center, in a performance of lyrical sweetness, velvet tone, and fierce virtuosity. Surrounding the Concerto, however, are charming salon pieces by Kreisler and Cyril Scott plus four enticing miniatures played by Chen and quartet Made in Berlin, including “A New Satiesfaction,” a play on the music of Erik Satie, with nods to Rossini and Grieg. To finish, a tribute to Chen’s Australian roots in the form of a riotous arrangement of “Waltzing Matilda”.

Six of New York City's heaviest hitters convene at the legendary Rudy Van Gelder studios and presents music built to tickle your mind, hit you in the heart & get your feet tappin with nine tracks written by pianist Mike LeDonne and tenor sax player Eric Alexander.

Today it is difficult to imagine the impact on audiences at the beginning of the 20th century of Serge Diaghilev (1872-1929) and his Ballets Russes. In celebration of the debut of the Ballets Russes in Paris in 1909, this wonderful Stravinsky evening at the Mariinsky Theatre showcases the original Nijinsky version of The Rite of Spring for the first time on DVD along with The Firebird, both conducted by Valery Gergiev. Thanks to the relentless work of Millicent Hodson, Nijinsky's original choreography has now been recreated, performed by the lead dancers and Ballet Company of the Saint Petersburg's Mariinsky Theatre conducted by Valery Geriev, known the world over for his interpretation of Stravinsky's works.

These 25 tracks represent the Marmalade's complete recorded output for CBS Records, including a pair of outtakes. The band simply moves from strength to strength during their period with CBS, starting with the superb Mike Smith-produced "It's All Leading up to Saturday Night," with its great beat and catchy choruses, and getting better from there. The title track has a special resonance; it's a glistening piece that mixes hard-rock guitar and bass with exquisite harmonies in a manner that overlaps with the Hollies. Yet, with its careful use of guitar distortion pumped up to sound like an orchestra, and a soaring choral phrase or two, the song also strangely anticipates the sound of the Electric Light Orchestra at their most poppy…