Lover, Beloved: Songs from an Evening with Carson McCullers is the ninth studio album by the American singer/songwriter Suzanne Vega. The album is based on a play "Carson McCullers Talks About Love" about the life of the writer Carson McCullers, written and performed by Vega, which premiered in 2011. Suzanne Vega wrote 8 songs in collaboration with Duncan Sheik and 2 with Michael Jefry Stevens.

Kiri Te Kanawa does well by these songs, avoiding the billowing excesses of sentiment that in other hands (or vocal chords) can make them sound much too soggy. Although Berlioz gathered them all together under the present title, all of the songs were composed at different times for different singers, so they aren't really a cycle at all. I seldom listen to all of them at once, and you should feel free to take them in any order that suits you. "The Death of Cleopatra" is an early cantata that perfectly suits Jessye Norman's stately delivery. She's always at her best playing royalty, and if they're dying in mortal agony, so much the better.

As the title suggests, this is the definitive edition of Etta James' Tell Mama long-player. For this single-disc release the original album is augmented with five previously unissued tracks – documented during James' four Muscle Shoals sessions circa '67-'68. The question of why a rural Alabama town became a conduit for some of the most memorable and instantly identifiable grooves may still be up for debate. The evidence exists in droves and Tell Mama could certainly be considered exhibit A. These sessions feature the same impact that would redirect several first ladies of soul. Notable among them are Dusty Springfield's Dusty in Memphis, Aretha Franklin's I Never Loved a Man (The Way I Love You) and to somewhat lesser acclaim, Jackie DeShannon's Jackie. Tell Mama showcases some of the unique and admittedly darker qualities of what might best be described as R&B noir. "I'd Rather Go Blind," "Steal Away," "I'm Gonna Take What He's Got" all exemplify the essence of the blues – making the best of a bad situation.

Named after the legendary violinist Adolf Busch (1891-1952), this young trio has already established itself on the international scene as one of the most talented of the new generation. Under the aegis of Alpha Classics and the Queen Elisabeth Music Chapel, the group set itself a challenge: to record the complete chamber music with keyboard of Antonín Dvorák. They managed to complete this project in four years and four albums: two albums of the piano trios, one of the piano quartets and one of the quintets. They were joined where necessary by the violist Miguel da Silva (founder of the famous Quatuor Ysaÿe) and the violinist Maria Milstein.

Giovanni Ferrandini seems to have been something of a child prodigy. By the time he was 12 he had left his home town of Venice to take up a paid court appointment as oboist in Munich. What should be remarked upon is not just his age but that the Elector of Bavaria was paying him; this was an age when young people could be expected to take on the role of assistant or student without salary.

This is the 45th title in the Vivaldi Edition, 3 years after the first recording dedicated to Vivaldi scores discovered in Europe between 2000 and 2007, now in its 12th year. This second volume features the most recent discoveries in world premiere recordings and will further contribute to complete one of the most fascinating jigsaw puzzles in musical history Federico Maria Sardelli is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi at the Fondazione Cini in Venice, for which he has published numerous scholarly essays. In July 2007 Peter Ryom chose him to continue his monumental work of cataloguing the music of Antonio Vivaldi; since then, Sardelli has been the editor of the Vivaldi Werkverzeichnis (RV).

„Abstract Emotions" is a reflection of the struggles and complexities I’ve faced over the past year. It’s been a time of loss, overwhelming feelings and confusion followed – feelings that often seemed impossible to articulate. With words, we attempt to define our common human experience, but words can never truly capture the depth of what we feel. We may have to accept that others will never truly understand our journey, and that we in turn may never fully understand theirs.

Queen epitomize all the glittery excess of album-oriented rock in the 1970s, marrying the crunch of heavy metal to the pomp of prog rock then leavening the heady mixture with camp humor. It's an eccentric blend that proves to be surprisingly versatile, allowing for the mock-operatic "Bohemian Rhapsody," soaring arena rock like "Somebody to Love," thumping rockers like "Fat Bottomed Girls," the neo-rockabilly "Crazy Little Thing Called Love," and the disco excursion "Another One Bites the Dust." Queen's range proves that they were a deceptively egalitarian band: they're the only classic rock group where each member wrote at least one of the group's signature songs.

Daniel Hope Described at one time in his publicity materials as "the British violinist," as if he were the only one, Daniel Hope is at least the most versatile British violinist of the early 21st century. An advocate of contemporary music, he has also performed Beethoven and Schumann with the period-instrument ensemble Concerto Köln, recorded music inspired by Indian classical composer/performer Ravi Shankar, partnered with actor Klaus Maria Brandauer in conceptual projects involving music and the spoken word, and recorded a pair of successful albums that use the familiar music of Antonio Vivaldi as a starting point for further creative activity.

Wilhelm Furtwängler was born in Schöneberg (now a district of Berlin) in 1886, but spent most of his childhood in Munich, where his father, an archaeologist, taught at the university. He received a musical education from an early age, and soon became obsessed with the works of Beethoven – a lifelong fascination. Furtwängler considered himself to be a composer, and learned to conduct principally to be able to promote his own works. Everyone else saw him as an incredibly talented conductor, but as a composer? – not so much. It is, however, his own individual approach that underscores his entire career – his reputation as a conductor was built on the re-interpretation of each score he conducted, a principle far removed from the then more usual rigid adherence to performance tradition. His whole career was built on his belief in the sanctity of the German artistic tradition – not only of music but of literature and philosophy.

Recommended to fans of heavy rock, avant-garde improvisation, free jazz, and death metal. Guitarist Ava Mendoza, violinist Gabby Fluke-Mogul, and drummer Carolina Pérez release their debut album, Mama Killa, named for the Inca goddess of the moon. Mama Killa offers eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming. Working together for the first time, these three musicians have created a record that blends country, blues, and psychedelic rock with blast beats and the heaviness of black, death and doom metal, wrapping it all in feedback, distortion and pure whomping power.

Mozart provided a steady output of Masses during his time at the court in Salzburg. The fine Missa brevis in G major was composed in 1768 when Mozart was just twelve years old. The theatrical and inventive ‘Credo’ Mass in C major, from 1776, is regarded as one of Mozart’s finest achievements from this period. The profound key of D minor for the Missa brevis, K65, reflects its use at a 40-hour vigil, while the affectionate nickname ‘Spatzenmesse’ (‘Sparrow Mass’) for the Missa brevis in C major refers to the chirping nature of the Sanctus.

The album features David Bowie's live performances recorded for the BBC between 1967 and 1972.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.