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A New Day Has Come is the seventh English-language studio album by Canadian singer Celine Dion. She collaborated on A New Day Has Come with various producers, including Anders Bagge and Peer Åström for the first time. A New Day Has Come became a commercial success throughout the world and entered number one in more than seventeen countries. Overall, A New Day Has Come has sold eight million copies worldwide.

Composer and Harpist Anne Vanschothorst’s music has been described as innovative, minimal, lyrical, cinematic, and touching yet intense. The same rings true in THAT I DID ALWAYS LOVE, the artist’s musical ode to the great American poet Emily Dickinson. Featuring seven of the poet’s works set to music, Vanschothorst fosters an intimate listening space where two art forms reach a soothing synthesis, amplifying the elegance of Dickinson’s texts with the graceful nature of the harp, a perfect pairing.

Sérgio Ricardo, stage name João Lutfi (Marília, June 18, 1932 — Rio de Janeiro, July 23, 2020), was a Brazilian musician, composer, filmmaker and singer, having also worked as an actor and film director.

"I'm a Berliner," John F. Kennedy once chanted at the Brandenburg Gate. Of course, JFK could not have predicted on the cresting wave of the Cold War that this sentence could apply to his compatriot Chris Dahlgren even more comprehensively than to himself half a century later.

Many songs on this album have one thing in common: they are mainly early compositions, in some cases even the first songs these composers wrote. They all have a certain spontaneity and freshness which shows that the young men who composed them were still at the beginning of their careers, full of dreams and hopes for the future. Thus, not surprisingly, many of the songs are also about dreams, totally in the spirit of the true romantic soul.

The young French cellist Edgar Moreau, an established Erato artist, is joined by his siblings – the violinists Raphaëlle and David and the pianist Jérémie – for Dvořák’s five Bagatelles op 47 and Korngold’s Suite op 23.

For years, Ryan Gustafson has been a Hiss Golden Messenger associate and generally a fixture within a certain circle of North Carolina musicians. But along the way he also returns to the countryside and periodically releases new work under his own project, the Dead Tongues. The last time we heard from the project was in 2018, with Unsung Passage. And today, Gustafson is back with news of its successor, the fourth Dead Tongues album.

The sincerity and at the same time emotionality of Anton Bruckner's musical thoughts create an inimitable magnetism that makes one "forget" time in the very best sense of the word. Anyone who wants to approach Bruckner only analytically will find their mind boggled, especially at the first encounter. His great power is a certain "transcendental charm" that is common to all his symphonies.

The title piece, "Donau So Blue", is a blues on which Austrian pianist-composer Friedrich Gulda is accompanied by two seasoned jazz musicians: Hans Rettenbacher on bass and Manfred Josel on drums. Gulda felt himself to be an outsider in the jazz world. He was a renowned Mozart and Beethoven interpreter, but did not want to be tied down to the world of classical music. And who was the singer Albert Golowin? Gulda describes him as "a dropout, a certain type of Viennese, a highly talented dilettante, a bungled baritone with an aversion to the concert hall". Actually, Golowin was a pseudonym that Gulda used for singing performances. The pianist was celebrated as brilliant and criticized as infant terrible. Often, Gulda would not stick to the announced program; once he performed playing the recorder naked.