Flac 5.1

XTC‘s alter egos The Dukes of Stratosphear feature in the latest in the band’s acclaimed ‘Surround Sound Series’ with a new set called ‘Psurroundabout Ride’ which features the complete recordings newly mixed in stereo and surround sound by Steven Wilson.

More Power Rock than Power Pop, when released in September 1980, the album became XTC's first Top 20 chart album in the U.K., narrowly missed the Top 40 (No. 41) in the USA where it was issued in November, but spent an impressive 24 weeks on the Billboard chart nonetheless. The sense of immediacy, the rush of a band fully living up to its potential is as apparent now as it was when the album first came out & Steven Wilson's new stereo & 5.1 mixes bring out every nuance of the original performances on what was, already, one of the best engineered & produced albums of the era.

Released in 2003, "Dance of Death" is the thirteenth studio album by Iron Maiden and the second release since the return of vocalist Bruce Dickinson and guitarist Adrian Smith in 1999. It was produced by Kevin Shirley and Steve Harris and featured the singles "Wildest Dreams" and "Rainmaker".

Brahms is one of François-Frederic Guy’s favourite composer, he has accompanied him all his life, the first work that he performed in public was his First Concerto. The Brahms Project is, above all, conceived as an amorous dictionary of the composer and not an exhaustive complete recording. It is organised around the piano, the veritable common denominator of an original itinerary combining chamber music, the Lied, the concertos and solo piano works.

A portrait, on the tercentenary of the composer's birth, of Carl Philipp Emanuel Bach (1714-1788), probably the most gifted of the sons of Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. For CPE Bach, music had to be an expression of personal feelings and to achieve his aim, he revolutionised the established principles of form, harmony and rhythm.

„Pavane pour une infante défunte“, an early work, takes us into the world of dance that perfumes the musical world of Ravel. „Gaspard de la nuit“ in the French Romantic tradition, is a triptych inspired by three of Aloysius Bertrand's prose-ballads: Ondine, the water nymph; Le Gibet (Gallows), paints a gruesome picture of „a bell tolling from the walls of a city, beneath the skyline, and the body of a hanged man, reddened by the setting sun“; Scarbo, depicts the night-time mischief of a mocking dwarf. We return to the dance with the bold‚ “Valses nobles et sentimentales“, a series of waltzes written in 1911. Finally, „Ma Mère l'Oye“ (Mother Goose), shows Ravel's affection for his childhood days. Vanessa Wagner brings out the modernity of these scores, their sudden movements of violence, their moments of ineffable sweetness. She plays with rigour, intensity and a velvet touch.

The eclectic, multi-talented concert pianist, conductor, arranger, and composer, Bruno Fontaine is difficult to pidgeon-hole. Upon graduating from the Paris Conservatoire, covered in prizes, he soon embarked on a rewarding career that merges his talent in all genres from Johnny Hallyday, to Ute Lemper via Barbara Hendricks. This is the marriage of genres that Aparté propose here, in an album dedicated to Ragtime: 20 compositions by major masters of the genre: Scott Joplin, Tom Turpin, James Scott, Joseph Lamb, Joseph Daly, plus a trip to the great Fats Waller. Fontaine added the famous 'Golliwog's Cake-Walk' by Claude Debussy, 'Ragtime Parade' by Erik Satie and finally for the contemporary French touch, he composed two ragtime numbers of his own.

It has haunted René Jacobs since childhood: first as a boy soprano in Ghent, then as a countertenor, he has constantly frequented the supreme masterpiece that is the 'St Matthew Passion'. Jacobs uses the layout of the Good Friday Vesper service from Bach's time, with choirs front and back, rather than side-by-side. He also gives us extra soloists to complete the bi-choral effect. For Bach, the two halves were 28 metres apart. At that distance, coordination difficulties begin to appear between the speed of light, and the speed of sound, and we cannot determine how Bach dealt with this problem.

Brahms's important output of 24 chamber scores dominated the second half of the 19th century, as that of Beethoven had dominated the first half. His corpus was thus a response to that of Beethoven, his model, and to that of Mendelssohn, who was likewise born in Hamburg and also composed two cello sonatas. In 1890, aged only 57, Brahms resolved to give up composing but he had reckoned without the inspiration that his meeting with the Meiningen clarinetist Richard Mühlfeld was to have on his creative imagination. He subsequently added four scores for clarinet to his output, including this Trio Op. 114.