For Halloween - SiriusXM: Symphony Hall features; 'Scary Soundtracks with Michael Shapiro'

This Friday - October 30 at 9 pm ET, SiriusXM's Symphony Hall Channel will feature; 'Scary Soundtracks with Michael Shapiro, a 1hr special highlighting the Overture to the the 1931 film 'Frankenstein.' With an incredible legacy, and selected by the U.S. Library of Congress for preservation in the National Film Registry as being culturally, historically, or aesthetically significant, the movie was first released, unfortunately, with no original soundtrack. That all changed in 2001, when composer Michael Shapiro was commissioned to write one. Join SiriusXM: Symphony Hall for a special Halloween "Classics On Film" when Michael joins host Vincent Caruso to speak about his own creation! You'll hear some of Michael's "Frankenstein" soundtrack as well as to hear some of Michael's picks for scariest film music!
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Jeni Slotchiver - American Heritage is a homage to the legendary composers of American traditional folk music / JP's Music Blog

Famed classical pianist Jeni Slotchiver recently released her ZOHO label debut album "American Heritage." It is a homage to the legendary composers of American traditional folk music. Jeni's new eighteen track release begins with the beautifully elegant delivery of Samuel Coleridge Taylor's (1875-1912) "Deep River." She performs a spiritual version of Harry Thacker Burleigh's (1866-1949) six-piece suite of "Southland," before arriving at the epic, nine-minute musical number "Union, Paraphrase de Concert Op. 48" by Louis Moreau Gottschalk (1829-1869). The melody livens-up with Florence B. Price's (1887-1953) "Nimble Feet" and "Tropical Noon." Jeni Slotchiver finishes up her new album with the more well-known sing-along "Down By The Riverside" by Frederic Rzewski (b. 1938) and the two-minute gentle masterpiece of "Swanee River" from William Grant Still (1895-1979). To find out more about Jeni Slotchiver and her latest release "American Heritage," please visit SEE THE JP's Music Blog PAGE
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Katia and Marielle Labeque have been playing, and enlarging, the two-piano repertory for over 50 years / The New York Times

These Sisters Have Transformed the Piano Duo "Oh, look!" said the pianist Katia Labèque, pushing aside some neatly ironed clothes hanging on a rack. Behind the clothes, which were behind the boiler in the utility room of her home and studio here in French Basque Country, was a poster advertising concerts last year at the Philharmonie in Paris. It showed Katia and her sister, Marielle - both with dark hair flowing, glamorously dressed - and listed three programs: five centuries of Basque music; a Stravinsky and Debussy double bill; an evening with three art-rock auteurs, Thom Yorke, Bryce Dessner and David Chalmin. "We're ridiculous," said Katia. "This is the only poster we have, and it's hidden." The poster suggests the wildly varied musical interests of the Labèque sisters, who for over 50 years have been playing - and enlarging - the two-piano repertory. They have interpreted traditional classical and Romantic works, to brilliant effect, but have also ventured into jazz, Baroque, modernist and experimental genres - commissioning scores, inventing projects and testing their limits. Their latest recording, out this week, is a newly arranged two-piano adaptation of Philip Glass's opera "Les Enfants Terribles." "What always struck me with both of them is that, although they are very different human beings, they both have this endless curiosity about everything, not just music," said Simon Rattle, the music director of the London Symphony Orchestra and a frequent Labèques collaborator. Katia, 70, and Marielle, 68, have been inventing themselves since they were teenagers. First taught by their mother, an Italian piano teacher and pupil of the renowned pianist Marguerite Long, the sisters moved at 11 and 13 from their hometown, Hendaye (not far from here), to attend the prestigious Paris Conservatory. "They taught you the tricks, but not the love of music that we learned from our parents," Marielle said. "Maybe that helped us develop our sense of independence, the desire to move in the world on our own terms." (The sisters, interviewed mostly in French, also speak fluent English, Italian and Spanish.) The election. And its impact on you. They decided against the solo careers that their fiercely competitive training had shaped them for. "From the moment we left - and it was 1968, the year of revolution of the students - we said, ‘Let's do something maybe not so conventional,'" Katia said. They decided to play together. After studying at the Paris Conservatory, the Labèques made the unconventional choice to play as a duo.Credit...Keystone/Hulton Archive, via Getty Images "They took a time-honored form, the double piano, which had become slightly less fashionable, and breathed entirely new life into it," said Deborah Borda, the president and chief executive of the New York Philharmonic. Despite their almost uncanny unity onstage - "it's a mystery beyond sisterhood," Mr. Rattle said - the Labèques have very different personalities. In the interview, Katia exuded energy and enthusiasm, while Marielle remained calm and reflective. But they agreed that they never really had a career plan. After deciding to perform together, they joined the Conservatory's chamber music graduate class to develop their dual repertory, and worked as ensemble musicians with Félix Blaska's dance company. One day, while they were working on Olivier Messiaen's "Visions de l'Amen," Messiaen, who taught composition at the Conservatory, knocked on the door. After listening for a bit, he asked if one of the sisters would record the work with his wife. Even then, they showed surprising strength of purpose. "We said, ‘No, we are just starting out and we can't begin by dividing,'" Katia recalled. But eventually Messiaen asked them to record the work together, which led to encounters with the composers Gyorgy Ligeti, Pierre Boulez and Luciano Berio, whom they boldly approached, asking him to compose a work for them. Berio suggested they give the French premiere of his double piano concerto, which they subsequently played all over the world. Their international breakthrough came with a 1980 recording of "Rhapsody in Blue," which was a best seller but led to some harsh criticism from parts of the classical music establishment. "The concert halls were closed to Gershwin," Katia said. "People would say, ‘He is not a serious composer.' The same thing was true 30 years later, when we started to play Philip Glass." The sisters, brilliant in traditional repertory, played Mendelssohn with Bernard Labadie and the Los Angeles Philharmonic in 2013. The sisters, brilliant in traditional repertory, played Mendelssohn with Bernard Labadie and the Los Angeles Philharmonic in 2013.Credit...Lawrence K. Ho/Los Angeles Times, via Getty Images They were also sometimes ribbed for their designer outfits and glossy image. But Chad Smith, the chief executive of the Los Angeles Philharmonic, said he loved that the Labèques "have a complete vision. Lighting creates a beautiful environment; clothes, too. They come with a theatrical approach and have shown the false narrative that it's less serious if you engage in the visual." Over the years, they have pursued Baroque music, on Silbermann-model period-style pianofortes made for them and with the ensemble Il Giardino Armonico; ragtime; traditional Basque music; and jazz. Katia once lived with the jazz musician John McLaughlin and played in his band, and counts Miles Davis - who wrote two songs for her - and Billie Holiday as influences. The sisters have plunged deep into experimental terrain in "Minimalist Dream House," an ongoing series of concerts and recordings with Mr. Chalmin, who is Katia's partner, and Mr. Dessner. "They have an extremely broad vision of what they can do in a concert hall, and they treat everyone with the same respect," said Mr. Dessner, best known as a member of the indie-rock band the National. The coronavirus pandemic paused a number of their projects. A concerto by Nico Muhly, which should have premiered at the New York Philharmonic in early June, is now scheduled for the Paris Philharmonie on Nov. 12; a program with Mr. Dessner and the soprano Barbara Hannigan will probably be pushed to 2022. But one thing they could work on in quarantine was "Les Enfants Terribles," arranged by Mr. Glass's longtime collaborator, Michael Riesman. During the initial lockdown the Labèques worked separately to prepare the score - Marielle lives with her husband, the conductor Semyon Bychkov, about nine miles from the house Katia and Mr. Chalmin share - but sent recordings back and forth and spoke frequently with Mr. Riesman about changes. "We wanted more of the story and the dramatic parts," Katia said. "It was so odd that it's a story of confinement." After the lockdown restrictions were relaxed in May, they were able to practice together, and recorded the work in the state-of-the-art studio at Katia's house. "I love the way they play Philip Glass," said Mr. Riesman. "They have the right style, the right approach. They don't overly dramatize or emote." Mr. Muhly said, "They are actually much more involved in everything than most people of their stature. They email you about material; they are totally involved. The rhythms of the day are organized around an unspeakably rigorous work ethic, but there is something really elegant about the way they live their lives which flows into music and food and their extended family of artists." The sisters' trick, according to Katia, is their constant desire to change and learn. "We never want to rely on what we've done," she said. "We have always tried to be relentlessly in the present."    PHOTO: Lawrence K. Ho
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Matt Haimovitz's soaring cello and Mari Kodama's incisive piano flow together in constant, colorful conversation on 'MON AMI, Mon amour' / BroadwayWorld

The vibrant, expressive musical palette of cellist Matt Haimovitz and the graceful insight of pianist Mari Kodama meld in MON AMI, Mon amour, the new album from the PENTATONE Oxingale Series, available internationally on November 6, 2020. Haimovitz's soaring cello and Kodama's incisive piano flow together in constant, colorful conversation for rarities by sisters Lili and Nadia Boulanger, in the poignant Kaddish by Ravel and the melancholic Élégie by Milhaud, for iconic works by Poulenc and Debussy, and in beloved gems by Fauré. Framed by the 20th century's two world wars, these French composers overcome profound moments of darkness, never losing sight of their joie de vivre. An experience with the Poulenc Sonata - a work replete with musical ironies - set in motion the idea for MON AMI, Mon amour. In 2016, while working with a student on this sonata, Haimovitz reached for the score and lost his balance. His priceless 1710 Goffriller cello crashed to the ground, dramatically breaking in two. After the attentions of an expert luthier, the cello emerged 15 months later to new life. The cello and Haimovitz are reunited on this recording. READ THE FULL BroadwayWorld ARTICLE
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Smaro Gregoriadou's 'A Healing Fire' is an enjoyable anthology, beautifully played and handsomely recorded / theartsdesk

One interesting aspect of Greek guitarist Smaro Greoriadou's playing is her willingness to experiment technically, the tunings and instruments chosen to suit the musical requirements of each work. So, her transcription of Bach's Violin Sonata No. 2 follows the composer's own keyboard version in switching from A minor to D minor, Gregoriadou using a guitar tuned a major third higher than usual. Her choice pays off, the instrument's leaner, crisper timbre closer to that of the harpsichord. There's an intensity and tautness to the sound which heightens the music's expressivity. Every flourish in Bach's opening "Grave" tells, followed by a cogent, elegant fugue. And I like the steely power of the final movement, music described by Gregoriadou as "smooth but assertive". For the rest of the disc we slip back down to conventional tuning, both instruments fitted with pedal mechanisms allowing the sound to be modified by the player. The one familiar work is Britten's Nocturnal after John Dowland, a sequence of variations based on Dowland's "Come, heavy sleep", the theme only appearing at the very end. This is thorny, late Britten, the spare textures easily offset by the warmth of Gregoriadou's playing, the arrival of the Dowland melody an effective coup de théâtre. Sofia Gubaidulina's Serenade dates from 1960, three minutes of arresting but pained musing, ending suddenly and serenely with a G major chord. Rarer still is the Op. 41 Suite by French-Canadian composer Jacques Hétu. He described himself in 1996 as "a rather solitary hiker", a follower of Dutilleux rather than Boulez. This five-movement work is an accessible treat, Hétu's language alluding to conventional tonality while remaining distinct and fresh. As with Hindemith, thickets of thorny dissonance have a habit of resolving, magically, onto consonant chords. An enjoyable anthology, beautifully played and handsomely recorded, Gregoriadou's stated objective to "offer encouragement and hope against today's dystopia and chaos" accomplished with ease. SEE ALL theartsdesk REVIEWS
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NYC's Central Park Is alive with music thanks to Ellen Reid's soundwalk app / NPR

Masked pedestrians enjoy Central Park earlier this year. The New York destination now has a site-specific soundtrack courtesy of composer Ellen Reid's Soundwalk app. Even this spring, when New York City was at the center of the coronavirus pandemic in the U.S, the city's public parks never closed. Instead, they became a place where people went for a socially distanced refuge, often escaping into music with their headphones. Ellen Reid has taken that experience one step further: The Pulitzer Prize-winning composer has written new music for a GPS-enabled app called Soundwalk, specifically designed to accompany walks around Central Park. Reid had the idea for the app several years ago, but it wasn't until the pandemic hit that she went into her studio and got to work. When I met her at the park to test-drive the app myself, the artist said she was "thinking about creating beauty for people to be inspired by and a place to find joy and a way to connect with our phones, actually in a way that connects us to something larger than ourselves." READ THE FULL NPR ARTICLE & WATCH THE VIDEO
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Harmonious World podcast discusses 'Scatter my Ashes' with composer William Susman

American composer William Susman has created a distinctively expressive voice in contemporary classical music, with a catalog that includes orchestral, chamber, and vocal music, as well as numerous film scores. In addition to his work as a composer, he spearheads the contemporary ensemble OCTET and Belarca Records. AllMusic calls him an exemplar of "the next developments in the sphere of minimalism," and textura describes him as "not averse to letting his affection for Afro-Cuban, jazz, and other forms seep into his creative output." His music has earned praise from The New York Times for being "vivid, turbulent, and rich-textured," from Gramophone as "texturally shimmering and harmonically ravishing," and from textura for being "entrancing . . . harmonious and vibrant."  Scoring the documentary Fate of the Lhapa was an inspiring experience. Susman worked with a marvelous director, Sarah Sifers, who trusted his musicianship and gave him the freedom to compose a score that attempts to capture the place, culture, spirit and passion of the Tibetan Shamans and their broader historical context.  Scatter my Ashes reached No. 1 on Amazon's Classical Hot New Releases, No. 8 on Billboard's Classical and was featured in iTunes Classical New and Noteworthy. Harmonious World podcast producer; Hilary Robertson interviewed composer William Susman focusing on Scatter My Ashes. LISTEN
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Wallace DePue Senior honored for his 'barbershopera' / Sentinel-Tribune

Bowling Green resident and Professor Emeritus at Bowling Green State University Dr. Wallace DePue has garnered another national award, receiving a third place recognition from the American Prize organization for his comic opera "Something Special." DePue said that what makes "Something Special" one of a kind is that it is the only "barbershopera" in music literature. Moreover, says DePue, "The 50-minute piece is unique in that it is accapella, in the barbershop style. There is no orchestra, just the voices of the four singers." The American Prize organization is dedicated to the idea that a great deal of excellent music is being made all across the country, in schools, churches, colleges and University. According to their website, these efforts too often go unrecognized. Laureates of the American Prize at all levels of achievement derive local, regional and national recognition to help generate jobs, build audiences and sustain careers. "Something Special" was first presented in mid-1970s to a packed house at the Masonic Theater. The recording has often been aired on WBGU-TV. It also can be found on Youtube. In 2014, "Something Special" also won the "Gold Medal" (first prize) in a worldwide competition sponsored by the Boston Metro Opera. There were 625 works, from six continents, submitted. READ THE FULL Sentinel-Tribune ARTICLE
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John Scofield - Swallow Tales makes BBC Music Magazine's 'The best jazz recordings released in 2020 so far'

A list of the greatest jazz albums released so far this year, as chosen by the BBC Music Magazine critics includes; John Scofield - Swallow Tales, featuring; John Scofield (electric guitar), Steve Swallow (bass guitar), Bill Stewart (drums) ECM 2679 The electric guitarist John Scofield comes full circle with this fine trio release, revisiting original pieces from veteran bass player Steve Swallow's repertoire – accompanied by the composer himself. Scofield first met Swallow when he was a 20-year-old student at Berklee College, and the bassist's beguiling, compact tunes were a training staple there. The pair have collaborated often over the 40 years since. Bill Stewart has long been Scofield's go-to drummer. The trio's close rapport means they can nail a deeply satisfying session like this in just an afternoon. The pretty, song-like ‘She Was Young' sets the scene, Scofield and Swallow's lines melting into one another, the guitarist eventually diverging with suggestions of rhythm and blues; Stewart's touch is lighter than air, yet he creates an atmosphere that crackles with energy. The classic ‘Falling Grace' begins all warm toned and lyrical, Swallow walking the bass up and down behind Scofield before artfully breaking time in his solo to lift the temperature. The musical synergy is thrilling. As Scofield succinctly puts it in the CD liner: ‘When we play it's like one big guitar, the bass part and my part together'. SEE THE BBC Music Magazine PAGE
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Shabaka and the Ancestors 'We Are Sent Here by History' makes BBC Music Magazine's 'The best jazz recordings released in 2020 so far'

A list of the greatest jazz albums released so far this year, as chosen by the BBC Music Magazine critics includes; 'Shabaka and the Ancestors: We Are Sent Here by History' featuring Shabaka Hutchings (tenor sax), Mthunzi Mvubu (alto sax), Siyabonga Mthembu (voice), Ariel Zamonsky (bass), Gontse Makhene (percussion), Tumi Mogorosi (drums), Nduduzo Makhathini (piano), Thandi Ntuli (piano), Mandla Mlangeni (trumpet) Reflecting his both informed and enquiring viewpoint, Shabaka Hutchings fronts several notable groups. This formidable unit, in which he works with a group of South African musicians, is now on its second album that also marks its Impulse! debut. Tagged occasionally offhandedly as anything from ‘Afrobeat' to ‘spiritual' and even ‘old-school' by listeners and pundits while described by its convener as an extension of the African griot tradition of storytelling and the preservation of history, the album blends poetry and chants with driving, drum-driven instrumental statements reminiscent of Steve Coleman, whose early influences Hutchings no doubt shares. The narrative theme of this set of pieces is literally post- apocalyptic: the End of Days has already happened, so what happens next? It's at this point that we begin to address the extraordinary music itself, which is uncontainable in its energy, gravity and the sense of indefatigable potential that it can't help but generate; perhaps the album's ultimate message lies there, in which case ‘timely' doesn't quite cut it. Irresistible. SEE THE BBC Music Magazine PAGE
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'Sa Re Sa Sa' shines with vocals by Shunia and Hassan Hakmoun / New Age Music Guide

Celebrating the transformational power of music, "Sa Re Sa Sa" shines with vocals by chant duo Shunia and beloved Moroccan artist Hassan Hakmoun. Sweep away the blues and experience the joy as Shunia sings and is joined by musicians and dancers in breathtakingly beautiful outdoor locations! The "Sa Re Sa Sa" mantra is considered the "gateway" to all the others… It is a foundational mantra to learn. This energizing video of "Sa Re Sa Sa" celebrates the transformative power of God here on earth, opening flow and bringing peace. Shunia will release their new album on 1.15.21. What is Shunia? Through their music, Lisa Reagan and Suzanne Jackson merge the art forms of chant and opera into an exciting new sound. "When we discovered the hidden dimension and power of singing chant music, we wanted to share this profound experience." ." The ultimate purpose of Shunia is to merge music and mantra in order to bring healing and connection. This practice has the ability to shift energy and create new levels of consciousness. Shunia's music has the power to transform, to connect you to the energy within and around you. It can put you in touch with something as simple as your five senses or as mysterious as the infinite. SEE THE New Age Music Guide PAGE
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Keith Jarrett may never perform again / JazzTimes

Pianist Keith Jarrett, one of the most important figures in jazz of the last 50 years, has been curiously invisible since his last performance in February 2017 at New York's Carnegie Hall. He has now revealed the reason for his silence in a New York Times interview with Nate Chinen: Jarrett suffered two strokes in 2018 that have likely permanently derailed his ability to perform in public. Jarrett, 75, told Chinen that since being afflicted by the strokes in February and May of 2018, he is partially paralyzed on his left side. The second stroke resulted in a 10-month stay in a nursing facility. Jarrett has since relearned to walk with a cane but has only occasionally attempted to play the piano; in a recent attempt, he discovered that he had forgotten some staple tunes of the bebop repertoire. "I can only play with my right hand, and it's not convincing me anymore," Jarrett told Chinen. "I don't know what my future is supposed to be, [but] I don't feel right now like I'm a pianist." Chinen also conducted the most recent JazzTimes interview with Jarrett, in 2017. At that time, the pianist discussed a late-1990s struggle with chronic fatigue syndrome that had nearly destroyed his career. "I just found myself too tired to do anything I normally do. I thought I was dying," he said. "I didn't know if I'd play again." In that case, Jarrett recovered sufficiently to launch a renaissance in 1999. Jarrett's newest release, the forthcoming Budapest Concert, documents a solo performance from his 2016 European tour. It will be released October 30 on ECM Records.      Keith Jarrett (photo: Woong Chul An) READ THE FULL JazzTimes ARTICLE
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Top 10 Albums for October

Ennio Morricone :

Morricone Segreto

To commemorate what would have been the 92nd birthday of iconic Italian composer Ennio Morricone, his home label Decca joins forces with CAM Sugar to present Morricone Segreto, a brand-new collection featuring seven previously unreleased tracks. The collection, which marks Morricone's first posthumous release, is available digitally and on CD/vinyl on 6th November. The new release is a treasure trove of rare and forgotten pieces and alternate takes from the historical archives of CAM Sugar. Morricone Segreto explores what is possibly Morricone's richest creative period, between the end of the 1960s to the early 80s, demonstrating his long-lasting influence on generations of musicians and film directors to this day. Featuring seven original pieces which have never been released before, the collection is an acid-tinged sonic journey through mysterious voices, fuzz guitars, airy strings, eerie synths and modern grooves from the composer who was always ahead of the trend, dictating style in his own way. Listeners can hear a selection of scores where Morricone managed to create his unique and unmistakable style, blending an array of genres including avant-garde with the finest pop-psych sounds. Highlights include extracts from Lui Per Lei, Stark System, La Smagliatura, and Il Clan Dei Siciliani.
Laura Karpman - Raphael Saadiq :

Lovecraft Country (HBO ORIGINAL SERIES)

WaterTower Music is pleased to announce today's release of the 62-track Lovecraft Country (Soundtrack from the HBO® Original Series), featuring music from the first season of Lovecraft Country, which airs on HBO/ HBO Max, and is Based on Matt Ruff 's novel of the same name. In addition to 11 tracks performed by the show's cast in the first season, the album showcases original music by multiple Emmy Award-winning composer Laura Karpman, whose career spans film, television videogame and concert music; and Grammy-winning, Oscar- nominated producer/ musician/ songwriter Raphael Saadiq. Karpman discussed working on the show and the soundtrack. "I am so proud to be a part of this project along with my partner and brother Raphael Saadiq. We both owe a huge debt of gratitude to (Lovecraft Country Executive Producer) Misha Green who gave us a wide palette to musically explore every conceivable genre while focusing on the hearts and souls of our heroes.  The album" continued the composer, "is organized by episode, hopefully taking the listener back to many visceral moments in this remarkable series."
Christopher Hoyt Knight :

Yellow Rose OMPS

Sony Music Masterworks announces the release of YELLOW ROSE (ORIGINAL MOTION PICTURE SOUNDTRACK), an album of music featured in the upcoming musical drama from director Diane Paragas.  Available everywhere October 9, the album features a mix of newly-recorded original tracks as performed in the film by Eva Noblezada, Dale Watson and Lea Salonga as well as score tracks by composer Christopher H. Knight.  The result of a collaborative writing process between the director, country singer Dale Watson and Filipino-American singer and actress Thia Megia, the new original tracks are performed in the film by Watson and lead Eva Noblezada, a breakout star of Broadway's hit smash Hadestown.  Following the story of a young Filipina teen as she fights to pursue her dreams of becoming a country performer, Yellow Rose makes its theatrical debut Friday, October 9 via Sony Pictures' Stage 6 Films.
Dickon Hinchliffe :

The Third Day: Winter (From The Limited Series)

Milan Records announces the release of THE THIRD DAY: WINTER (MUSIC FROM THE LIMITED SERIES) with music by award-winning composer DICKON HINCHLIFFE.  Available everywhere Friday, October 9, the album features music written by Hinchliffe for the second half of Sky and HBO's six-part limited series starring Jude Law and Naomie Harris.  Today's news follows the September release of The Third Day: Summer (Music from the Limited Series) by Cristobal Tapia de Veer – available everywhere now.  The Third Day premiered on HBO and HBO Max on Monday, September 14 and Sky Atlantic (UK) on Tuesday, September 15.   
Adam Janota Bzowski :

Saint Maud

Milan Records announces the release of SAINT MAUD (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by ADAM JANOTA BZOWSKI. Available Friday, October 9, the album features score music written by Janota Bzowski for the eerie thriller and film debut from writer-director Rose Glass. Starring Morfydd Clark, Jennifer Ehle, Lilly Frazer, Lily Knight, Marcus Hutton, Turlough Convery, Rosie Sansom.
Vangelis :

Juno to Jupiter

Inspired by the ground-breaking mission of NASA's Juno space probe and its ongoing exploration of Jupiter, Juno to Jupiter is a multi-dimensional musical journey through electronic, progressive, ambient, techno, orchestral, and vocal music. The project features soprano Angela Gheorghiu and sounds from space recorded by NASA.
Helene Grimaud :

The Messenger

For her latest studio album, pianist Hélène Grimaud travels to Salzburg where she creates a fascinating juxtaposition between the eternal Mozart and the Ukrainian composer Valentin Silvestrov (b. 1937). Hélène has long had a passion for Silvestrov's music, which some call post-modernist or even neoclassical.  The composer's own words hint at why this is for her so intriguing: "I do not write new music. My music is a response to and an echo of what already exists." In selecting the music for this album, Hélène has carefully chosen music by Mozart that fits into an overall dramaturgy: from Mozart's famous unfinished D minor Fantasy, Helene transitions seamlessly into the great D minor concerto K. 466 - one of the most popular amongst Mozart's 27 concertos (and one of only two in a minor key). The C minor Fantasy here signals "the end of Mozart" and a new beginning: The Messenger starts with a theme reminiscent of Mozart, and like a messenger, creates a connection between the present and the world that existed before. Melancholy and hope, sadness and exuberance can be felt emanating from both Mozart's and Silvestrov's works. The Messenger, one of Silvestrov's most performed works, is dedicated to his wife Larissa Bondarenko, who had recently passed away. The Two Dialogues with Postscript that serve here as an epilogue, leave the outcome open, leading the way to Schubert, Wagner and beyond.
Keith Jarrett :

Budapest Concert

Budapest Concert is the second complete show to be issued from Keith Jarrett's 2016 European tour, recorded two weeks earlier than the widely-acclaimed concert released as Munich 2016. The new double album documents the pianist's solo performance at the Béla Bartók National Concert Hall in Budapest. Jarrett, whose family roots reach back to Hungary, viewed the concert as akin to a homecoming – also with regard to his lifelong affection for Bartók, as he explained to the audience - and the context inspired much creative improvisation. 
Devonte Hynes :

We Are Who We Are (Original Series Score)

Milan Records today announces the release of Luca Guadagnino's WE ARE WHO WE ARE (ORIGINAL SERIES SCORE) featuring music by producer, multi-instrumentalist, composer, songwriter and vocalist DEVONTÉ HYNES. Available everywhere Friday, October 2, the album features 12 score tracks written by Hynes for HBO®'s new coming-of-age drama series, as well as four previously released instrumental tracks from acclaimed composers Julius Eastman and John Adams.  From Luca Guadagnino (Call Me By Your Name), We Are Who We Are made its critically-acclaimed debut on HBO and HBO MAX September 14 and airs Mondays at 10:00PM ET.
Seth MacFarlane :

Great Songs From Stage & Screen

Grammy-nominated vocalist, Seth MacFarlane, releases his 6th studio album, Great Songs From Stage & Screen (Republic/Verve). The collection of tender ballads and uptempo tunes is full of lush and rich orchestrations courtesy of acclaimed composer, Bruce Broughton.  Recorded at the legendary Abbey Road studios, MacFarlane recruited a stellar group of musicians that included Chuck Berghofer (Bass), Peter Erskine (Drums), Larry Koonse (Guitar), Dan Higgins (Alto Sax) and Tom Ranier (piano). Together with members of the John Wilson Orchestra, longtime friend and collaborator, composer/producer Joel McNeely and engineer extraordinaire, Rich Breen, MacFarlane deftly weaved songs of theatrical and filmic origins into a collection that harkens back to Hollywood's Golden Age.