Scott English High on a Hill

Even before the first KuschelRock album, Kuschelrock was named as a weekly nightly music program for HR3 radio station (HR3 broadcasts from Frankfurt, Germany), the author and host of this project was Thomas Koschwitz, who is considered to be the co-author of a number of albums in Kazle … After Sony Music patented the right to release a series of albums called "KuschelRock", the HR3 radio station can no longer air this night music show … And now Sony Music regularly releases every year on the album …

The "100 Years of Italian Opera" series released by Opera Rara is unique in the annals of opera recordings. However, this installment is especially exciting as it documents the evolution of Italian opera during the 1820's, the decade when romanticism truly began to come into its own on the operatic stage. Opera Rara has lovingly compiled a variety of arcana written by composers famous and forgotten. Included is everything from overtures to arias, duets, ensembles, and entire scenes.

A wonderful collector's edition of jazz pianists' records in almost all styles from the first ragtimes to modern jazz.

Chandos' Grainger Edition brings yet another cornucopia of delights delivered with indefatigable dedication and twinkling charisma by Richard Hickox and the BBC Philharmonic. The formula is the same as on this team's first and second volumes of Grainger's orchestral music, with tried-and-trusted nuggets such as Green Bushes and Colonial Song (both given here in particularly lavish orchestrations from 1905-06 and 1919 respectively) sitting cheek by jowl alongside genuine rarities like The Merry King (based on a folk-tune from West Sussex and boasting a seductively ornate piano contribution) and the amazingly colourful English Dance No.1 (a riot of a piece which prompted Gabriel Fauré to exclaim: "It's as if the total population were a-dancing!").

On this, the largest set ever compiled of one of the last century's most popular composers, we may not only renew our familiarity with the Concierto de Aranjuez, or perhaps with one of the other ever-melodious guitar concertos that sustain his reputation with audiences, but also discover chamber, instrumental, choral and especially vocal works which testify to a creative imagination confident in the formation of its style but never satisfied with repetition, one which responded directly to poetic and lyric inspiration, and transformed its ideas with unfailing skill and respect for the idiom under consideration.