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Das wenigste, war man von Gaetano Donizetti, dem italienischen Opernkomponisten par excellence erwarten würde, ist die Vielzahl von Streichquartette, also der Gattung, die in ihrer puristisch-strengen Beschränkung auf das Wesentliche eigentlich in Italien nie so richtig Fuß gefasst hat. Und doch schrieb der junge Donizetti in seiner Lehrzeit in Bergamo 18 Quartette, die zum Besten gehören, was die italienische Musik in diesem Genre hervorgebracht hat. Es sind ernsthafte Auseinandersetzungen mit den großen Meistern Haydn und Beethoven, in den Donizetti zunehmend seinen eigenen Weg findet.

This is an unreleased live recording in Lyon on 13th June 1998. Surely this is the existing earliest live recording of Acid Mothers Temple & The Melting Paraiso U.F.O. . This is the third gig of Acid Mothers Temple’s history.(The debut gig was at Transmission Theater in San Francisco on 6th June, second gig was at Eimer in Berlin on 10th June).

'60s British pop trio the Ivy League consisted of members John Carter, Ken Lewis (previous members of Carter-Lewis and the Southerners), and Perry Ford. All three members were session singers who possessed high-pitched singing voices, forming the group in 1964. Although an initial single quickly disappeared from sight, their second single, "Funny How Love Can Be," turned out to be a surprise U.K. Top Ten hit. Further hits followed, including "That's Why I'm Crying" and a cover of "Tossin' And Turnin'," the latter of which hit number three on the U.K. charts. The original trio managed to only release a single full-length album, 1965's This Is the Ivy League, before both Carter and Lewis left the group a year later. With replacement members Tony Burrows and Neil Landon taking the recently departed original members' places, the Ivy League issued two more full-lengths, 1967's Sounds of the Ivy League and 1969's Tomorrow Is Another Day.

The Seeds were one of the most influential bands in the '60s American garage rock scene; they delivered hypnotic, stripped-down tunes dominated by Daryl Hooper's circular keyboard lines and the fuzzy, feral guitar breaks of Jan Savage, while lead singer Sky Saxon wailed a thinly veiled paen to drugs and sex, including "Mr. Farmer," "Rolling Machine," and "Up in Her Room." The Seeds scored their biggest hit with "Pushin' Too Hard" in 1967, but the band had already attracted a sizable following in their hometown of Los Angeles, and they would release a string of memorable singles through the end of the decade. Singles As & Bs 1965-1970 collects both sides of the 11 singles the Seeds released during their heyday, including variant B-sides for two releases, and as a bonus the set includes a rare, unedited take of "Pushin' Too Hard"…

Una poesia muta: Art in early Cinquecento Venice is the result of a collaboration between SWR radio, Staatsgalerie Stuttgart and The Marian Consort. Specially curated by the Stuttgart museum, Germany’s first ever exhibition devoted to Vittore Carpaccio and his contemporaries has inspired The Marian Consort to devise an album to accompany this artistic journey. Being one of the most prominent painters of the Early Renaissance in Venice, Carpaccio is likely to have been acquainted with the music and the composers recorded here, since all have strong links to the city at that time. If some of them are well-known today – Josquin, Jean Mouton, Adrian Willaert – others deserve wider recognition. The Marian Consort and its director Rory McCleery have assembled a typically fascinating programme, matched with superb singing.

From two players to twelve: few ensembles could respond with equal authority to the very varied demands made by this wonderful collection of Debussy’s chamber music. But then, few ensembles can stand comparison with the Nash, whose members continue to set the standards across a dauntingly wide repertoire. A realization of the Prélude à l’après-midi … for chamber ensemble adds to this album’s more familiar attractions of the string quartet and three sonatas.

This is the second album of The Sins Of Thy Beloved. Compared to their debut album, there is no change in substance, also some beautiful and sorrowful gothic doom music. But they make a little alteration, which cause their music heavier and stronger, sounds more abundant.
In their first album the guitar riff and the male growl are all beneath and behind Anita's heavenly voice. But in this album, they become more prominent and get to constitute a major part of their music. So the music itself gets more close to the metal works, the guitar riff and the drum beat are strong, the black metal style growl is clear, interspersed by the keyboard and the violin. Anita also plays an important role, but in this album, her voice is not the musical groundwork any more, but still cooperates with other instrument and male vocal excellently.