Haydn 2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned.
The Anthology of the Royal Concertgebouw Orchestra is a transcription in sound of the concert-giving history of the Concertgebouw Orchestra, based upon radio recordings from the archives of Dutch Radio and Radio Netherlands World Service. Six decades of the 20th century are put under the spotlight in six boxes, each containing 14 CDs. We have chosen not only legendary performances under chief conductors of the KCO but also concerts led by countless guest conductors of both greater and lesser renown. Famous soloists make their debuts with the orchestra alongside world premieres of works that have since become classics of the repertoire. This fifth volume of the Anthology features the radio recordings made by the orchestra in the 1980s, presenting an overview on 14 CDs of the orchestra's artistic development under various conductors during that period.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).