Hailed by the international music press and highly praised by music connoisseurs, the recordings of Bach’s entire body of vocal music made by the Bach Collegium Japan (BCJ), its conductor Masaaki Suzuki and numerous prestigious soloists, many of whom have remained remarkably loyal to the undertaking from the outset, are here brought together to form the only complete set of these works in high-resolution format.

The Christmas easy-listening album by Paul Mauriat and His Orchestra, originally released in 1967, with bonus tracks released in 1971, 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

One of the key German composers before Bach with more than 500 surviving individual pieces, Heinrich Schutz wrote mainly church music, and is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the early Baroque. Although he lived most of his long life in Germany, in his twenties Schutz made two visits to Venice. The first was between 1609 and 1613 when he was taught by Giovanni Gabrieli; and the second in the late 1620s to meet and possibly study under Monteverdi. The two trips greatly influenced Schutz's music as he absorbed and began to combine the ornate and theatrical Venetian style with the more understated Lutheran tradition in which he grew up. This album explores his solo cantatas alongside examples of the brilliant and virtuosic Venetian style instrumental music.

A concept album exploring themes of broadcast communications, Radio-Activity marked Kraftwerk's return to more obtuse territory, extensively utilizing static, oscillators, and even Cage-like moments of silence to approximate the sense of radio transmission; a pivotal record in the group's continuing development, the title track – the first they ever recorded in English – is their most fully realized electro-pop effort to date, while "The Voice of Energy" precipitates the robot voice so crucial to their subsequent work.

Vox Luminis has teamed up with the Freiburger Barockorchester again, and together they celebrate music for Ascension Day. This topic inspired great composers such as Johann Sebastian Bach, four of whose Ascension cantatas have been preserved. The festive and colourful Cantata BWV 128 was composed towards the end of Bach’s second year in Leipzig. The Ascension Oratorio BWV 11 was written for larger forces and ends with a triumphant chorus. In the case of Georg Philipp Telemann, more than thirty cantatas for Ascension Day alone have survived. The cantata Ich fahre auf zu meinem Vater (I ascend unto my Father) was composed in 1721 and receives its world premiere recording here. Lionel Meunier’s ensemble and the FBO give a fervent rendering of this captivating music with its texts focusing on the afterlife.

In 1914, Franz Schmidt staged his opera Notre Dame at the Vienna State Opera to great acclaim. Immediately afterwards, he was looking for material for a new opera when he came across the novel Fredigundis by Felix Dahn, which is loosely based on historical events from the 6th century. Schmidt worked on the project from 1916 to 1921, with the premiere taking place in Berlin in December 1922. Schmidt’s music for Fredigundis marks the end of a development that runs through the so-called ‘Classic-Romantic’ period. The work is characterised by extensive chromaticism and a boundary-pushing expansion of the major-minor tonal system paired with dense counterpoint and perfect compositional artistry in the vocal parts. The dramatic mezzo-soprano Dunja Vejzovic, who became famous for her Wagner roles in Bayreuth and Salzburg, performed on all the major opera and concert stages of the world. The excellent cast of singers in this performance is supported by Austrian conductor Ernst Märzendorfer, who also mastered several instruments and composed piano concertos, incidental music and a ballet. On this recording, he conducts the ORF Vienna Radio Symphony Orchestra, which has established itself as an opera orchestra through a long and successful collaboration with the MusikTheater an der Wien.