100 Eurosong Klassiekers is a various artist compilation album. Released in 2010 on Universal.

The 2023 release of Dr. John - Malcolm Rebennack (The Crazy Cajun Recordings) is a compilation of early recordings by the legendary New Orleans musician, Dr. John (real name: Malcolm Rebennack). These tracks were recorded during his formative years in the mid-1960s, long before he adopted the "Dr. John" persona that made him famous. The compilation highlights his roots in New Orleans R&B, blues, and early rock and roll, showcasing his distinctive piano work and unique vocal style that would later shape his career.

The Main Ingredient were one of the best smooth soul groups of the early '70s, but they've never been given much respect in terms of CD retrospectives. They were given two comps in 1990 – Collectables' good but cheap Golden Classics and RCA's lengthier All Time Greatest Hits, which had more tunes but bad sound – and in 1996 RCA issued Quiet Storm, a collection of their romantic ballads, but the group still needed a well-produced, remastered collection of their biggest hits.

Try Anything Once is the first solo album by Alan Parsons, released in 1993. It was his first album since the split of The Alan Parsons Project. This album features vocals by Ambrosia's David Pack, Jacqui Copland, former Mindbender and 10cc guitarist Eric Stewart, and Manfred Mann's Earth Band frontman Chris Thompson. The album features completely digital recording and mixing. It was recorded at Parson's first "Parsonics" studio in Sussex England with the orchestra recorded at Air Studios in London.

Nikolaus Harnoncourt präsentierte 2009 einen der spannendsten Beiträge zum Haydn-Jubiläumsjahr. Seine Neueinspielung der berühmten Jahreszeiten von Haydn mit dem Originalklangorchester Concentus Musicus Wien bietet einen liebevoll im Detail ausgemalten, kontraststarken und spannungsreichen Bilderbogen - mit wild brausenden Winterstürmen, brütender Sommerhitze, heftigem Gewitter und einem ausschweifenden Winzerfest. Das Solistenterzett mit Genia Kühmeiers mädchenhaften Sopran, dem kultivierten Tenor von Werner Güra und dem ausdruckstarken, lyrischen Bariton von Christian Gerhaher lässt keine Wünsche offen. 2010 erhielt Nikolaus Harnoncourt für diese Einspielung den Echo Klassik für die beste Chorwerk-Einspielung des Jahres.

“Brilliant singer … a lean, straightforward voice animated by a subtle flatée … real ‘vocal artistry’,” raved German early music expert Bernhard Morbach of Kulturradio Berlin Brandenburg about Amaryllis Dieltiens’ debut on AEOLUS in 2011. With her own ensemble Capriola Di Gioia, Dieltiens now presents a deeply touching Stabat mater in Boccherini’s original version from 1781.

François Couperin was the greatest keyboard composer of the French Baroque, and his achievement, in both quality and quantity, is comparable only to Scarlatti's and Bach's. His fourth (and last) book of harpsichord music was published in 1730, a few years before the composer's death, and it represents a summing up of his career as a composer for his favorite instrument. These eight suites (or "ordres") contain fewer works than in the earlier books, but each one is a gem. Christophe Rousset's performances are simply the finest available, both in terms of interpretation and sound. These two discs are a fitting conclusion to a sensational series.

If I could pick a musical premiere out of the past that I could have attended, I would probably choose one of those evenings when Mozart and Haydn took the two viola parts in the first performances of Mozart's string quintets. It's something to wonder at, anyway. The string quintets are not only Mozart's greatest chamber music, they are among the most profoundly inspired pieces of music by anyone for any instruments. Three of them can be found on this budget priced set, superbly performed, along with the Horn Quintet, and the Quintet for Piano and Winds, which inspired Beethoven to compose a not quite as successful sequel. Greatness, folks, pure and simple.

The pioneering Chandos recordings of Parry’s symphonies by Matthias Bamert and the London Philharmonic confirmed that the concert world of Victorian England was not just a void waiting to be filled by Elgar. More than one expressive vein considered typically Elgarian was first tapped by Parry, and extended by him with professional flair. His symphonies established an independent vision, and cannot be dismissed as mere precursors of a greater composer.

Five years after the release of his album “Joys and Solitudes” on ECM, pianist Yonathan Avishai is back on jazz&people, the label that discovered him. Celebrating a decade of fertile collaboration with his trio, with Yoni Zelnik on double bass and Donald Kontomanou on drums, the musician releases “Shapes and Sounds” an album in which he magnifies everything that has made the strength of his style and its reputation: a way of playing with the forms and sounds of jazz, focusing on building from elements reduced to their quintessence (pure swing, the texture of a cymbal, the sound of a double bass, a few piano notes, a touch of blues…) moments of pure music. Inherited from Duke Ellington, Thelonious Monk and Ahmad Jamal, his sensitive and spare touch gives rise to a series of eight pieces, six original compositions, which range from pure and sweet moments of happiness to the expression of more painful tensions, as well as two covers: “When You're Smiling”, made famous by Louis Armstrong, which will bring a smile to all those who hear it; and “La Mélancolie”, a magnificent song by the great French songwriter and performer Léo Ferré, which the pianist turns into a sad and romantic ballad that will speak to everyone through its simplicity. A favorite of musicians such as trumpeter Avishai Cohen or bassist Omer Avital, Yonathan Avishai reminds us with “Shapes and Sounds” that he is one of the most singular and touching pianists on the current jazz scene. Too good to be missed!

John Adams’ music has long since captured the admiration of listeners for its inimitable American qualities. City Noir was inspired by the cultural and social history of Los Angeles, with Adams calling it ‘an imaginary film score’ in its evocation of a terse, melodramatic and menace-drenched sound world. Fearful Symmetries exemplifies Adams’ steamroller motor rhythms, endlessly inventive in their shifts of timbre, texture and color. The album ends with a work dedicated to Marin Alsop, a capricious “Spider Dance” of memorable rhythmic drive.

Few other conductors had or have a relationship with the Berliner Philharmoniker to match Seiji Ozawa’s. His musical abilities earned him the orchestra’s respect from the very outset. He knew his scores down to the smallest detail and knew precisely what he wanted. However — and this is what made working with him so wonderful — he never imposed his views on us but rather integrated them into a partnership on equal terms. That led not only to personally rewarding encounters: it also made possible the kind of music making in which freedom and spontaneity always had a place.

PJ Harvey has collaborated with Ben Power to create original songs for London Tide, directed by Ian Rickson and based on Charles Dickens’ Our Mutual Friend.

A powerful, award-winning new opera that dives into the real-life struggle between celebrity cellist Jacqueline du Pre and the multiple sclerosis that ravaged her body, mind, and talent, robbing her of her identity, her breathtaking musical gift, and ultimately her life.

Arriving between the implosion of the Style Council and the commercial comeback of Wild Wood, Paul Weller’s eponymous 1992 debut is sometimes overlooked, but it’s one of his finest records, a smooth, soulful excursion pitched precisely between the sophisticated swing of the Style Council and the rustic rock of Wild Wood. In the wake of the disastrous unreleased house album from Style Council, Weller chose to dig into his roots, relying heavily on Curtis Mayfield records and a dash of Traffic’s jazz lilt, creating a cool groove of an album, one that warmed well to light elements of acid house, whether it’s the extended coda of “Kosmos” or the many remixes of the album’s singles (all collected on Universal’s 2009 double-disc deluxe edition). As pure sound, Paul Weller is seductive – it’s supple and relaxed, easing into its vamps and rhythms, maintaining its tone through shifts of tempos – but it sticks because its Weller’s best set of songs in years, anchored by the tight opening rocker “Uh-Huh Oh Yeh,” the soulful lament “I Didn’t Mean to Hurt You,” the insistent pulse of “Bull Rush,” the gorgeous shimmer of “Bitterness Rising,” and the revitalizing rush of “Into Tomorrow.”