Volume 11 of the 'Next Generation Mozart Soloists' series presents Violin Concerto No. 5 in A Major along with Piano Concertos KV 40 and KV 449. The Piano Concerto No. 3 is a very early work, derived from works by other composers, whereas No. 14 was written in 1784 by a fully mature Mozart, who was moving away from functional music towards expressing his ideas in a more dramatic structure. What links the two, says Swiss-Canadian pianist Teo Gheorghiu, is that they are both "concertos mainly joyful and optimistic in expression". French violinist David Castro-Balbi says "of Mozart’s violin concertos, No. 5 has the strongest operatic character". These two soloists are accompanied by the Mozarteumorchester Salzburg under the baton of Howard Griffiths.

One of the leading keyboard players of her generation, Sophie Yates is renowned as a performer, educator, and broadcaster.

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.

Over a longer period, Krokofant has included organist Ståle Storløkken and bassist Ingebrigt Håker Flaten. With two albums, loads of concerts and raving reviews with this line-up, this constellation is over for now – and Krokofant is back again as a trio. This is of course marked with a new trio album with brand new music.

A decade is a long pause… how the world has changed since… Longtime friends and collaborators, iconic ambient composer William Basinski and sound artist/composer Richard Chartier return to LINE with 'Aurora Terminalis', their first new work together since 2015’s ‘Divertissement’ LP (Important Records, US).

New album from the South African musician + creative visionary, known for her vibrant, inimitable style + affirming lyricism. Full Moon is a collection of 12 songs which displays Sanelly's unique sonic fingerprint, joyous attitude, distinctive vocals + genre-bending hits. Recorded in multiple locations while on the road, Full Moon is an introspective yet kinetic display of her versatility. "I can make any genre, I have fun creating music because I'm not limited," she says. Its club-ready beats oscillate between electronic, afro-punk, edgy-pop, kwaito, + hip-hop sensibilities.

Throughout its Golden Age, England cultivated the masque, an elite entertainment featuring dialogue, song, and dance. As part of these spectacles, courtiers—and at times even the queen herself—often graced the dance floor. But it was hired professionals who provided the musical heart of these productions. Lutenists in particular were especially adept at creating music for any occasion. The dances, variations on popular songs, and fantasias they composed are full of versatility and virtuosity. This recording features lute works by the foremost composers of the Elizabethan-Jacobean era, with music by Dowland, Holborne, Bacheler, Ferrabosco, and other contemporaries who participated in The Queenes Maskes. For many years Elisa La Marca has been much sought after by leading specialist ensembles (Il Giardino Armonico, Il Pomo d’Oro, Les Musiciens du Prince, Zefiro etc.), with which she appears in prestigious locations, the mostly recent being the Teatro alla Scala in Milan. Here she presents her first solo album, devoted to one of her favourite repertoires.

Throughout his career, Ringo Starr has received nine Grammy® Awards and has twice been inducted into the Rock and Roll Hall of Fame - first as a Beatle and then as solo artist. Now, he releases a brand-new country music album, Look Up, produced and co-written by T Bone Burnett. This stunning collection features 11 original songs, recorded this year in Nashville and Los Angeles.

Emmanuel Pahud and the Orchestre de la Suisse Romande begin this new album of compositions by Éric Montalbetti with his Flute Concerto Memento vivere, conceived in one movement as an ode to breath and life. Duncan Ward and the Gürzenich Orchester Köln have recorded the final and definitive version of Montalbetti’s Ouverture philharmonique, a mini-concerto for symphony orchestra that invites the listener to immerse themselves into the heart of each of the orchestra's sections, and to revel in the work’s multiple combinations of timbres. Finally, Kazuki Yamada and the Orchestre Philharmonique de Monte-Carlo perform the composer’s great symphonic fantasy Éclair physionomique, inspired by Paul Klee’s fascinating painting Physiognomischer Blitz, a self-portrait of the artist illuminated by a flash of lightning. Each of these pieces unfolds like an extensive daydream, a journey across interior landscapes that the composer would like to share with the listener.

Jérémie Rhorer and Le Cercle de l'Harmonie launch a new collaboration with Alpha Classics, with several projects planned, following the Mozart operas released on the label in 2016 and 2017. Here they tackle a monument of the sacred repertoire that is fascinating for its rich, complex, even ‘mysterious’ conception. Rhorer tells us that his interpretation pays close attention to the question of tempi, which have often become progressively slower and heavier since the post-Romantic period: the tempi have ‘a direct bearing on the vocal comfort of the singers, since breath control is one of the great difficulties of this work’, he says. For this recording, he has called in a quartet of top-flight soloists along with the Audi Jugendchorakademie, a remarkable German youth choir founded in 2007. In conjunction with his period-instrument orchestra, soon to celebrate its twentieth anniversary, they offer a passionate vision of Beethoven’s masterpiece.

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.

Tippin’ is the realization of a dream I've nurtured for quite some time. It’s been over 20 years since I last recorded as a leader, not counting the two records I made with my dear friend and bassist, Rodney Whitaker, Get Ready and Work To Do.

Produced with Mark Ralph, who previously worked with them on their 2013 album Right Thoughts, Right Words, Right Action, the album showcases Franz at their most immediate, upbeat and life-affirming, unashamedly going for the pop-jugular in classic Franz style. Recorded at AYR studios in Scotland, the 11-songs on The Human Fear all allude to some deep-set human fears and how overcoming and accepting these fears drives and defines our lives.