Jean-Bernard Pommier (born August 17, 1944 in Beziers), is a French pianist and conductor. Pommier studied conducting at the Conservatoire de Paris with Yves Nat, Pierre Sancan and Eugene Bigot. In 1962 he won the International Competition for Young Musicians in Berlin. Then at 17 he was a finalist in the International Tchaikovsky Competition.[1] He has performed in recitals and as soloist with numerous orchestras and in several European festivals.

On her clarinet, Sharon Kam expresses something for which there are no words. At one with her instrument, she thrills in this compilation with a virtuosic suppleness and sensitive cantabile in a class of its own. A firework display of vivacity and emotion. This reissue includes works by Weber, Rossini, Mendelssohn, Brahms and Massenet.

Quatuor Ébène has done it again. After offering not only pristine and passionate performances of Ravel, Debussy, Faure, Brahms and their recent adventure into FICTION they return to the classics. This well recorded (very presence oriented) recital is all Mozart and it is understandable that this brilliant French quartet would elect to publicly cleanse the palette after the foray into music inspired by Hollywood.

While Universal's budget-priced best-of series, 20th Century Masters/The Millennium Collection, is welcome for introducing inexpensive compilations of a wide range of recording artists, it also complicates things for consumers when an act already has one or more collections currently in the marketplace. A good example is Joe Walsh. Walsh originally gained renown in 1969 as a member of the James Gang, which recorded for ABC Records, the catalog for which is now controlled by Universal and released through MCA Records.

Even before their debut album, Happiness, became one of the fastest-selling albums in the U.K. in 2010, Manchester duo Hurts already had a rabid online fan base, stoked by several arch, expertly art-directed videos that the group self-produced, which captured the eye while showcasing the band's mix of '80s synth pop melodicism, Krautrock angularity, and '90s Hi-NRG balladry. The videos expertly juxtaposed a Helmut Newton-esque black-and-white aesthetic with the group's musical love of dance-club dramatics, á la Depeche Mode, Erasure, and Pet Shop Boys, eventually attracting the attention of Euro-pop diva Kylie Minogue, who ended up singing on the track "Devotion."