One of the piano pieces that Glynn includes is Cum Mortuis in Lingua Mortua, a movement from MussorgskyвЂ™s best known work, Pictures at an Exhibition, and the whole work is included in Alexander Krichel вЂ™s recital for Berlin Classics. The whole thing is a joy, brilliantly conceived and presented with tremendous panache. Every one of them becomes a miniature scena, while the piano pieces that Glynn places between them sometimes offer contrast, sometimes reinforcement. As they point out in their sleeve notes, unlike MussorgskyвЂ™s operas, which contain few significant female characters, his songs frequently take a womanвЂ™s viewpoint, even though nowadays they are more often associated with male singers.Д«ooth brings each song to life with operatic vividness, whether itвЂ™s the satirical The Goat with which the disc opens, the sadness of bereavement in The Leaves Rustled Softly, or the desolation of On the River, from Sunless. They call the result вЂњa cradle-to-grave songspielвЂќ, describing the arc of a womanвЂ™s life, beginning in the nursery, and moving through youth and marriage to final loneliness. The selection includes numbers from MussorgskyвЂ™s three song-cycles, The Nursery, Sunless and Songs and Dances of Death, alongside stand-alone settings and piano pieces. They spent a year sifting through them all before creating the sequence that appears on this disc, following the scheme of their earlier collections for Avie of Percy Grainger and Edvard Grieg. Soprano Claire Booth and pianist Christopher GlynnвЂ™s approach to this quirky genius is through his piano music and 60-odd songs. Modest Mussorgsky: Unorthodox Music album cover Photograph: Publicity image

Well-meaning later composers вЂ“ Rimsky-Korsakov, Ravel, Shostakovich вЂ“ rearranged his most famous works, attempting to impose civilised accessibility on music that is anything but elegant and accommodating, and often obscured the radicalism and originality of his works in the process. Modest Mussorgsky is indisputably one of the greatest of 19th-century Russian composers, but getting a real sense of his unruly output has never been easy. Quivering in Time transcends the temporal as well as the planar, but crucially, it doesnвЂ™t leave us behind. Baby plays with tempo further, and novelly uses turntablism and scratching for sampling, while the closing title track is an ode to the breakbeats that have inspired Drew so much. Take percussive roller Sensation: dropping to half-time on a whim, the mix gradually mutates across filters, melodic synths and piano make cameos, while the bass wriggles with a life of its own. It feels like an understatement to say the tracks on Quivering in Time are proper songs, as each one plays like a whole DJ set in and of itself. Eris Drew: Quivering in Time album cover. ItвЂ™s here she finally conceived her first LP. At 46, sheвЂ™s a veteran of nightlife, witnessing its transformations while experiencing her own in recent years: skyrocketing popularity, establishment of the label and resource hub T4T LUV NRG along with partner Octo Octa, and relocation to a remote cabin in the woods of New Hampshire. Her understanding of house music taps into its potential as an agent for communality, spirituality, healing, psychedelia and the divine feminine вЂ“ all of which she conceptualises as вЂњthe MotherbeatвЂќ, acting as a guide and conduit to bring others to it. Chicago-raised DJ and producer Eris Drew is one of those artists, and itвЂ™s a role she embraces. There are some artists whose love for music is so strong, so genuine and so resonant that all there is to do is simply surrender to the emanating euphoria.

The duets album cover