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The dates are deceptive: the Viennese composer Ferdinand Rebay (1880-1953) remained largely unaffected by the turbulent musical currents swirling around him in the Austrian capital during the early 20th century.

Alexey Zuev has a very special relationship with Stravinsky’s music. From the age of seven, it entered his musical universe like a premonition, when he unknowingly "composed" a piece that bore astonishing similarities to Petrushka.

Venice ca. 1700: having recently arrived from France, the instruments à la mode - the oboe, bassoon, baroque recorder, and flûte traversière - go on to conquer the musical centers of the Serenissima. The versatility of these new woodwinds inspires Vivaldi at the Ospedale della Pietà and his compatriots Caldara and Lotti at San Marco throughout their lives, whether in Venice, Rome, Vienna, or Dresden.

The complete Decca recordings of the critically acclaimed piano duo Bracha Eden & Alexander Tamir.

Between the publication of the Second Book in 1701 and that of the Third Book, ten years went by, during which Marais established himself as a composer of tragédies lyriques.

Born in 1749, by the late 18th century Cimarosa was one of the leading composers in all of Europe. It was during his most prolific period, when he produced operas in Naples, Florence, Rome, Turin, Verona and Venice, that he created L’Olimpiade, premiered in Vicenza in 1784. To Pietre Metastasio’s already-famous libretto, this great opera seria is transfigured into a sumptuous bel canto drama. The athletes competing in the Games at Olympia are elevated to heroes by Cimarosa, with the winner set to marry Princess Aristaea. Unaware of this promise, Magacles agrees to pose as Prince Lycidas. But when he emerges victorious, he discovers his prize, Aristaea, whom he has always loved but must hand over to Lycidas…

Lyric Opera of Kansas City presents the world-premiere recording of Paul Moravec and Mark Campbell’s opera The Shining (2016). Based on the novel by Stephen King, this opera “elevates the tale from horror story to a human drama” (Wall Street Journal) thanks to Moravec’s atmospheric, electrifying score and Campbell’s deft libretto.

What turned out to be Elvis Presley’s final Nashville session brought music that was originally overlooked.

In March 2017 organist and harpsichordist Peter Kofler launched his ongoing Bach project: a complete recording of Johann Sebastian Bachs organ works. Unlike performers of earlier complete recordings, Kofler opted for a modern instrument for this enterprise. For not only was J. S. Bach the perfecter of a great polyphonic era, he was an innovator and stimulator as well, particularly in the field of organ music.

Born in Bologna, Giovanni Battista Vitali (1632–1692) spent all his life between his birth city and Modena, where he moved in 1674. There is something noteworthy in this geography of the composer: Vitali’s move from Bologna, then part of the Papal States under the administration of Rome, to the smaller but significantly more secular and artistically stimulating Modena, under the rule of the splendid Este family, is suggestive of a desire to achieve greater expressive freedom. All composers must tackle the dilemmas of their times, and Vitali’s legacy is his ability to use his great skill to achieve that ideal synthesis between tradition and innovation.