Brad Mehldau has shared Fantasy for Piano, from his upcoming album Fantasy & Reveries, out November 13, on Nonesuch. Fantasy for Piano was written in the same period as Mehldau’s Three Pieces After Bach. Also on the new album is Fourteen Reveries, which, similar to the composer’s Suite: April 2020, comprises a collection of shorter pieces. Reveries 1 and 2 were released last month. You can watch scrolling score videos for all three tracks here.

Robert Plant’s Saving Grace: All That Glitters... is now available digitally. The EP, previously released on vinyl for Record Store Day, follows Plant’s 2025 critically acclaimed album, Saving Grace; both feature singer Suzi Dian and a band of musicians from the English countryside that Plant calls home. The EP’s four tracks further explore the folk and Americana songs that Plant and the band love: the traditional tunes “The Blackest Crow” and “Two Coats,” Gillian Welch’s “Orphan Girl,” and Bert Jansch’s “Poison.” The video for "The Blackest Crow," made by Saving Grace cellist Barney Morse-Brown, may be seen here. Plant and the band are now touring the US.

Composer Dylan Mattingly—whose Nonesuch debut album, The Wild Heart, was released in June—stopped by for the Nonesuch Selects video series, in which artists visit the Nonesuch office, pick some of their favorite albums from the music library, and share a few words on their choices. He chose recordings by Henryk Górecki, Bill Frisell, Wilco, Donnacha Dennehy, Brad Mehldau, and John Adams.

Composer Sarah Kirkland Snider has shared videos for all eight movements of her piece Eye of Mnemosyne made by Deborah Johnson / CandyStations. The piece—a multimedia orchestral work on memory, innovation, and culture as refracted through the lens of photography, co-commissioned by the Rochester Philharmonic for its centennial season—is on Snider’s fifth full-length LP, the all-orchestral album Forward Into Light, produced by Silas Brown and recorded by Metropolis Ensemble led by artistic director/conductor Andrew Cyr. You can watch all of the videos here.

Composer, producer, saxophonist, and synthesist Josh Johnson shares “It Can Be Everywhere," a new track from his upcoming solo album Animative, due October 23. "It's both statement and prompt," Johnson says, "to imagine something greater, beyond where we currently stand, and to know that we can also carry that imagined place with us.” You can hear the track now and watch the video, directed by Mikel Patrick Avery, here. 

Punch Brothers stopped by the College of Charleston’s Cistern Yard in Charleston, SC, earlier this year to film a Back Porch Session for Garden & Gun magazine while at Spoleto Festival USA. You can watch the set, including "New Bike" and "Le Ruisseau" from their new all-instrumental album, The Unsung Adventures of Punch Brothers, plus "Clara," from their 2012 album, Who's Feeling Young Now?, here.

Rhiannon Giddens’s album Hope Is the Thing with Feathers was inspired by the beauty of people coming together and drawing strength from each other. It was intentionally recorded live with no frills and few overdubs, just pure and essential music that captures the feeling of community, clarity, as well as the joy and power of creating together. A video for the title track, capturing the creation of the album cover artwork by Uzoma Samuel Anyanwu, is also out now; you can watch it here.

Anthony Roth Costanzo's recording of John Dowland's "In Darkness Let Me Dwell," from his upcoming album, Countertenor, is out now. Lutist Dušan Balarin joined for the performance, and Shantell Martin made a video, which you can watch here. "My favorite line of the song is, ‘The walls of marble, black, shall weep,’" Costanzo says. "I felt it was an existential representation of where we are in terms of a moment in this country right now, something that classical music can actually do very well. It’s very personal, but it’s speaking to a larger thing. What does that darkness feel like?"

Fantasy & Reveries, Brad Mehldau’s recording of his solo compositions Fantasy for Piano and Fourteen Reveries, is out November 13, 2026, on Nonesuch Records. Originally commissioned by Jeremy Denk, Fantasy for Piano was written in the same period as Mehldau’s Three Pieces After Bach. Fourteen Reveries, similar to the composer’s Suite: April 2020, comprises a collection of shorter pieces. Reveries 1 and 2 are available today, along with videos featuring their scrolling scores.

Cécile McLorin Salvant sat down for a Nonesuch Q&A about her new album, With Every Breath I Take, her first orchestral record. She talks about what she looks for in a song, Sondheim's "Being Alive," the benefits of creative constraints, the power of intuition, working with the Metropole Orkest and conductor Jules Buckley, Darcy James Argue's arrangements, and the twists and turns on the album. You can see what she had to say—including two questions with pianist Sullivan Fortner—filmed by Matthew Edginton here.

Grammy-winning singer, songwriter, and virtuoso guitarist Molly Tuttle's So Long Little Miss Sunshine (Acoustic EP), a companion EP to her acclaimed Grammy-nominated album So Long Little Miss Sunshine, is out now. It was recorded with touring bandmates Vanessa McGowan and Mary Meyer and produced by Steve Berns. The EP strips back five standout tracks from the album and places Tuttle's voice, intricate guitar playing, and songwriting front and center. The intimate recordings offer a fresh perspective on some of the album's most personal songs. 

Natalie Merchant’s Cabinet of Wonder—a digital collection of 17 songs and accompanying videos from her collaboration with the Chicago Symphony Orchestra (CSO) and Chicago Children’s Theatre (CCT)—is out now on Nonesuch Records. Cabinet of Wonder reimagines Mother Goose and her rhymes for a new generation of young children through modern interpretations of the classic children’s canon and three originals by Merchant—performed by her, musicians from the CSO and special guests—in orchestral arrangements by Megan Gould. Cabinet of Wonder represents three years of behind-the-scenes work among the project’s collaborators and the culmination of Merchant's four decades of involvement in children’s arts and education.