Johann Gottfried Müthel was the last pupil of the great Johann Sebastian Bach. He was present at the master’s deathbed, and he performed the funeral services, taking over the duties of the deceased Cantor. Mühtel’s music (“full of novelty, taste and grace” according to the great art historian and traveller Charles Burney) is of a wide variety: his Organ Fantasias are imposing, monumental and substantial, his chorale preludes offer intimate meditations on the chorale texts, all of it written in a highly original, dynamic musical language full of contrasts and instrumental virtuosity.

The last decade of the 20th and the first decade of the 21st centuries have produced an array of astonishingly gifted countertenors who continue to set new standards of excellence and reveal possibilities for male singers performing in the traditional range of women who haven't been heard since the days of the castrati. Iestyn Davies doesn't have the spectacular instrument of some of the most dazzling countertenors of his generation but in his more modest way, he is no less impressive. His voice is pure, without a trace of the hollow hootiness that was once characteristic so many countertenors, and is absolutely secure and full from the bottom to the top of his range.

Nuria Rial and Lothar Odinius are the stars of the show. Rial has a fine voice, and excellent diction, and her text expression is mostly very good. The arias 'Pious orgies' and 'O liberty, thou choicest treasure' are two examples. She also performs the recitatives in a truly declamatory style. A particularly telling example of her treatment of the text is the delightful aria 'So shall the lute and harp awake' (act 3). Lothar Odinius shows the same qualities, and I was especially impressed with his differentiated performance of the coloratura passages in his arias. Like Nuria Rial he performs the recitatives very well. The aria 'Call forth thy pow'rs' (act 1) and the aria with chorus 'Sound an alarm' (act 2) are particularly well done.

When Jorge Bolet died in October 1990 the world lost one of its last ‘great Romantics’. Spirituality, a luxuriant tonal palette, a real sense of architecture, breadth, grandeur, all allied to a prodigious technique – these were just some of the qualities that informed his playing. Now, for the first time, Decca collects all the recordings he made for the label, from 1977 to 1990. Released for the first time and included in this set, is his last recording, a selection of Chopin’s Nocturnes and the Berceuse, recorded just seven months before his death.

Hin helga kvöl (The Holy Suffering) is a profound exploration of raw emotion and stark beauty, deeply inspired by Sólstafir’s cultural heritage and Iceland's breathtaking landscapes.
Sólstafir, meaning "crepuscular rays" in Icelandic, refers to sunlight piercing through dark clouds at dusk, capturing the essence of Hin helga kvöl, a beacon of hope shining through the heaviest of times. Sólstafir confronts inner demons and transcends rock and roll decadence, creating music that resonates with the universal struggle and triumph over hardship.
Recorded at Flóki Studios in the remote Skagafjörður, Iceland, the change of scenery has profoundly influenced the album's atmosphere. Hin helga kvöl features eight tracks blending Sólstafir's signature melancholic sound with elements from their past, merging black metal roots with tuneful, anthemic rock.

Universal’s 2011 Deluxe Edition of the Kinks’ second album, Kinda Kinks, finds the 12-track album supported by a 23-track collection of non-LP cuts, including both sides of the “Everybody’s Gonna Be Happy,” “Set Me Free,” “See My Friends,” and “Never Met a Girl Like You Before” singles; the Kwyet Kinks EP, which includes “A Well Respected Man”; no less than six demos, many of which are unreleased Ray Davies originals (“I Go to Sleep” saw the light of day on a previous CD reissue); alternate takes of “See My Friends” and “Come on Now”; and BBC sessions including the songs “This Strange Effect” and “Hide and Seek,” which never popped up on a Kinks LP. Like the group’s debut, Kinda Kinks is slightly uneven - Davies is showing strides as a songwriter and the band is tightening, but there are some slow patches - but adding all the bonus material to the album has the effect of strengthening the overall experience…