David Lacapelle

This recording has a huge advantage over most of its rivals for the attention of Tallis listeners: the wonderful acoustics of Winchester Cathedral. In this magnificent space, the soaring lines and resplendent harmonies of Tallis's greatest masterpieces find sympathetic resonance, resulting in a heightened dramatic presence that takes the music beyond earthly confines. Of course, beyond the exceptional quality of the writing, credit must go to the phenomenal men and boys of Winchester Cathedral Choir. Where, even in England, does one find trebles who sing with more assuredness, musicality, and beauty of tone? With a repertoire including "In ieiunio et fletu," "Salvator mundi," "In manus tuas," "The Lamentations of Jeremiah," "O nata lux," and the unbelievable 40-part motet "Spem in alium," this is the Tallis disc to own if you're buying only one.

Countertenor Tim Mead presents Beauteous Softness, a programme containing restrained yet profoundly moving songs by seventeenth-century English composers such as Purcell, Blow, Humfrey and Webb, in collaboration with La Nuova Musica and David Bates. The album also showcases the rich musical context that provided the foundation from which Purcell rose to prominence.

One of the greatest performances to ever go down at Glastonbury is heading to your living room: Yes, David Bowie’s legendary, epic, and timeless 2000 headlining set is finally making its way on to every preferable format you could ever want.

David Arkenstone's career has been a long and unusual one. On one hand, he makes new age music that takes influence from composers like John Williams, Brian Eno, and Tangerine Dream. On the other hand, most of his songs are highly based in fantasy and science fiction, taking their inspiration from the works of Mercedes Lackey and J.R.R. Tolkien. It is this bizarre mishmash of influences that produces some of the most recognized and respected instrumentals of the '80s and '90s. The album is programmed quite nicely, taking the listener on a sonic journey through Arkenstone's career by attempting to capture certain moods and styles from song to song. The transitions are flawless, leaving the listener without any tracks to skip through or slow moments…

David Crosby's debut solo album was the second release in a trilogy of albums (the others being Paul Kantner's Blows Against the Empire and Mickey Hart's Rolling Thunder) involving the indefinite aggregation of Bay Area friends and musical peers that informally christened itself the Planet Earth Rock and Roll Orchestra. Everyone from the members of the Grateful Dead and Jefferson Airplane to Crosby's mates in CSNY, Neil Young and Graham Nash, dropped by the studio to make significant contributions to the proceedings. (Jerry Garcia, Phil Lesh, and Bill Kreutzman, primarily, act as the ad hoc studio band, with other notables adding bits of flavor to other individual tracks.)

This album explores music by three father-and-son generations of the Tcherepnin family of composers: Nikolai, Alexander and Ivan. Although each wrote a wide range of scores, from solo pieces to operas and ballets, this recording focuses on their chamber music, presenting pieces spanning 95 years. Nikolai’s works for violin and piano reveal a late-Romantic, post-Tchaikovskian sensibility, whereas those of Alexander have a more modern, twentieth-century touch, closer to the style of his friend Sergei Prokofiev (a student of Nikolai Tcherepnin). Ivan is represented by two works — early and late – for flute, clarinet and piano, which have an improvisatory and playful quality.

Singer-songwriter David Crosby's solo debut, If I Could Only Remember My Name, was dismissed by critics when it came out in 1971. Over the years, however, appreciation has grown for the album's adventurous aesthetic, stacked harmonies and haunting lyrics about loss and confusion. Billed as Crosby's solo debut, the album was anything but a one-man project.