The Chiaroscuro Quartet has embarked on a chronological, single-album cycle of Beethoven's quartets, and the group returns here with the second volume, offering the fourth, fifth, and sixth quartets from the composer's Op. 18 set of six. The group uses gut strings and early instruments (second violinist Pablo Hernán Benedí plays a 1570 Amati instrument) that impart a physicality fitting the quartet's expressive aims. The word "chiaroscuro" befits this quartet, which, even in Haydn quartets, offers high-contrast performances.

Crown of Creation appeared ten months after their last album, After Bathing at Baxter's, and it doesn't take the same kind of leap forward that Baxter's did from Surrealistic Pillow. Indeed, in many ways, Crown of Creation is a more conservative album stylistically, opening with "Lather," a Grace Slick original that was one of the group's very last forays (and certainly their last prominent one) into a folk idiom. Much of what follows is a lot more based in electric rock, as well as steeped in elements of science fiction (specifically author John Wyndham's book The Chrysalids) in several places, but Crown of Creation was still deliberately more accessible musically than its predecessor, even as the playing became more bold and daring within more traditional song structures.

George Antheil called himself a ‘Pianist-Futurist’. A lover of speed, cars and aeroplanes, the American composer settled in the Paris of the Années Folles, where he frequented Picasso and Stravinsky, and composed works such as Sonate sauvage and Jazz Sonata, which caused a scandal: during a concert in Budapest, he even brandished a Chicago gangster-style pistol to restore silence in the hall … He hero-worshipped Beethoven, whose pieces he played in the first part of his recitals before moving onto his own music. In 1933, he returned to the United States where he met John Cage and Morton Feldman. Patkop and the young Finnish pianist Joonas Ahonen – whom The Times, following what the journalist described as ‘one of those concerts you remember for ever’, presented as the violinist’s ‘doppelgänger’! – pay tribute to the ‘Bad Boy of Music’.

Following on from Callirhoé (André Cardinal Destouches), Sémélé (Marin Marais) and Proserpine (Jean-Baptiste Lully), three important tragédies lyriques rescued from oblivion by Hervé Niquet and Le Concert Spirituel, Glossa is now restoring to the catalogue and within its collection of French Baroque opera, a recording made in Metz in December 2001: Daphnis et Chloé, the work which was to add Joseph Bodin de Boismortier to the roll call of the history of music in a most determined fashion.