Classical Music Month Sale!
Celebrate Classical Music Month this September with a month of masterpieces! Explore over 1,000 titles featuring some of classical music’s most celebrated composers, including Bach, Mozart, Beethoven, Brahms, Tchaikovsky, Mahler, Debussy, Ravel, Stravinsky, and more.
Whether you're returning to an old favorite or uncovering something entirely new, there’s no better time to explore the music that has shaped centuries of listening. Save up to 30% throughout Classical Music Month!
Shop the sale before it ends at 9:00am ET, Wednesday, September 30th, 2026.
1232 products
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Ravel: Orchestral Works - Saint-Saens: Organ Symphony / Morlot, Seattle Symphony
Seattle Symphony Media · Apr 2014CD$18.99 -
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Schumann: Das Paradies und die Pen / Hauschild, Rundfunk-Sinfonieorchester Leipzig
Brilliant Classics · Apr 2016CD$17.99 -
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Beethoven: Piano Concertos, Vol. 1 / Sombart, Vallet, Royal Philharmonic Orchestra
Signum Classics · Mar 2020CD$19.99 -
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SaleStravinsky: Petrushka - Debussy: La boite a joujoux / Morlot, Seattle Symphony
Seattle Symphony Media · Jun 2016CD$18.99$14.99 -
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SaleBeethoven: Piano Sonata No 3; Ravel, Chopin / Arthur Rubinstein
ICA Classics · Mar 2013CD$14.99$11.99 -
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SaleMendelssohn: A Midsummer Night's Dream - Beethoven: Symphony
ICA Classics · Nov 2011CD$14.99$11.99 -
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Beethoven, Mendelssohn, Bartholdy and Kasseckert / Böttcher, Südwestdeutsches Kammerorchester Pforzheim
Haenssler Classic · Jul 2021CD$20.99 -
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Ravel: Orchestral Works - Saint-Saens: Organ Symphony / Morlot, Seattle Symphony
Beethoven: Harmoniemusik / Alfredo Bernardini, Zefiro
Ludwig van Beethoven's devotion to wind musical instruments dates already from his young life in Bonn, as proved from the correspondence between his teacher Josef Haydn and the Elector of Bonn Maximilian Franz: here the composition of his Parthia dans un concert, or wind Octet op. 103 is mentioned as a work written before his arrival in Vienna and therefore as the earliest piece he wrote for winds. The remarkable Rondino for the same instruments, using the recently invented mutes for the horns, might have been part of the same Parthia in an earlier version. Once in Vienna, Beethoven was impressed by an ensemble consisting of just 2 oboes and cor anglais and wrote for them the extended and virtuosic Terzetto op. 87 in 1794 and the Variations on Mozart’s Don Giovanni in 1796. Also from 1796, a quintet with the unusual scoring of one oboe, three horns and bassoon survives incomplete. The picture of Beethoven’s output for winds wouldn’t be complete without his military music, commissioned around the year 1810. According to the Austrian tradition, with remote Turkish influence- the so-called janissary music- the scoring here includes also trumpets, contrabassoon and a rich variety of percussion instruments.
Schumann: Das Paradies und die Pen / Hauschild, Rundfunk-Sinfonieorchester Leipzig
Mozart: Complete Piano Sonatas, Vol. 2
Robert Schumann: Der Rose Pilgerfahrt & Requiem
Schubert: Winterreise
20 years ago, at the beginning of his career, the young baritone Bo Skovhus made his first recording of Schubert’s “Schöne Mullerin”. Now, as a famous opera and Lied interpreter he presents a new production of all 3 Schubert Cycles: “I’m very thankful to do this again. As a young men you do not reflect so much what happen. Now, when I’m older, I understand much more about. Especially for this cycle it’s important to have another point of view.” (Bo Skovhus) Stefan Vladar, the famous Viennese pianist and his partner on the piano, shows us the virtuosity of the piano part in a new different light.
Brahms: String Sextets Nos. 1 & 2 (arr. T. Kirchner for pian
Beethoven: Piano Concertos, Vol. 1 / Sombart, Vallet, Royal Philharmonic Orchestra
Prague-Vienna - Journey in Songs
Schubert: Winterreise / Holzmair, Haefliger
This release features Austrian baritone Wolfgang Holzmair, who studies as the Vienne Academy of Music and Dramatic Art with Hilde Rossel-Majdan and Erik Werba. Holzmair performs at venues and festivals around the world, as well as with other renowned artists such as pianist Imogen Cooper.
Stravinsky: Petrushka - Debussy: La boite a joujoux / Morlot, Seattle Symphony
Stravinsky’s much-loved work Petrushka receives a beautiful performance in this live recording by the Seattle Symphony. Alongside this titan of a work is the little-known children’s ballet by Debussy, La boite a joujoux (The Toy Box). Conductor Ludovic Morlot does a fantastic job of interpreting these works by two of the twentieth century’s finest conductors.
Beethoven: Piano Sonata No 3; Ravel, Chopin / Arthur Rubinstein
BEETHOVEN Piano Sonata No. 3 in C, Op. 2/3 1. RAVEL Valses nobles et sentimentales 1. CHOPIN Nocturne in D?, Op. 27/2 1. Ballade No. 1 in g, Op. 23 1. Andante spianato et Grande Polonaise brillante, Op. 22 2 • Artur Rubinstein (pn) • ICA 5095 (73:00) Live: London 3/17/1963 1 and 10/6/1959 2
If ever there were a pianist who could be considered the aristocrat of the instrument for the 20th century it would surely be Artur Rubinstein, so full of intelligence, nobility, and remarkable simplicity are his interpretations. He was, above all else, a direct communicator of ideas. Throughout his career he always played to the audience, making them feel part of the show, of the whole experience itself; they in turn loved him for it. And though he was not always the most secure technician (in terms of playing the correct notes, not in terms of his overall musical interpretations) he is in especially fine form here.
His direct approach to the music can be witnessed from the very beginning of the recital. Rubinstein’s Beethoven was always interesting to me depending on the particular repertoire he was approaching—his recordings of the “Appassionata” Piano Sonata or the Fourth Piano Concerto are some of the pinnacles of the recorded performances that have been bequeathed to us in the 20th century. His Beethoven Third Sonata is good—it is straightforward; he has little fluctuation of tempo (though the forte outburst in the first movement at 0:25 does push it a bit); his articulation is crisp when required, and he brings a fine joie de vivre in this bright, but not always sunny C-Major work. There is something lacking for me, though—a tension, a drama that I find inherent in this work. Everything here is just too smooth. In Rubinstein’s Ravel there is a tinge (but just a tinge!) of the percussive quality of a Prokofiev: One can almost see Rubinstein’s grin as he lets the rest of us in on what he knows to be Ravel’s true intentions in this work. Too often are these waltzes performed in a flowery manner. The pianist’s approach is subtle in his carefully calculated tonal shadings and in his elegant way of always maintaining the sense of the beat, of the dance, which inspired one of this composer’s loveliest creations. Rubinstein is in especially fine form in Chopin—his composer. The D?-Major Nocturne is the crowning jewel in this recital: Once again everything that makes a Rubinstein performance special is in evidence here, from the continuous flow of the accompaniment to the way in which he approaches each and every phrase, from the highly lyrical to the highly ornamented. Anyone who questions Rubinstein’s mechanism needs to behold the ease in which he plays each and every note in the rapid flourishes that pervade this work. Not only are all of the individual notes crystal clear, each also has a beautiful ringing tone. The G-Minor Ballade was one of the pianist’s favorite works and he is in spectacular form here. He captures that wonderful sense of the narrative—not only can he make the piano sing, he can make it speak. Unfortunately there is an issue here. A sound anomaly mars this otherwise fantastic recording at around 8:30. The Andante spianato and Grand Polonaise act as encores, coming from a much earlier recital. Here too Rubinstein’s magical qualities come out in the ease in which he projects the gentleness of the nocturne-like introduction and the elegance of the dance that follows. It is not the most dynamic reading of the Polonaise I know, but it is powerful nonetheless.
The sound throughout the recording is fine given its vintage (other than the aforementioned issue in the Ballade). What is most remarkable about Rubinstein for me is his naturalness—there seems to be not even a strand of the eccentric in his playing. His Chopin will always remain a favorite because of its elegance, its straightforwardness, and its rejection of the picture of the composer as a frail and meek individual. His Chopin is timeless. His Ravel too is fascinating. In his hands the music retains its modern aura. This is one disc that you’ll be sure to want in your collection; I’m all too happy to make it part of mine.
FANFARE: Scott Noriega
Thorsteinson & Schumann / Róbertsson, Sigurðardóttir
| Icelandic bass-baritone Andri Björn Róbertsson, and pianist Ástríður Alda Sigurðardóttir, perform Robert Schumann’s Liederkreis op. 24 and Liederkreis op. 39, along with seven songs by the Icelandic composer Árni Thorsteinson. The two Liederkreise were composed during Schumann´s Year of Song in 1840. More than sixty years later Thorsteinson began publishing his songs, and they were instantly regarded as national treasures by the Icelandic nation. The program invites the listener on a mysterious journey through nature, love, death and the unknown. Andri Björn Róbertsson studied at the Reykjavík Academy of Singing and Vocal Arts in his native Iceland, RAM and the National Opera Studio. In the 2020/21 season, Icelandic bass-baritone Andri Björn Róbertsson returns to Zurich Opera with the La Scintilla Orchestra for St John’s Passion and revisits the roles of Witness 3 and Madman in George Benjamin’s Lessons in Love and Violence at the Châtelet. |
Beethoven, Mendelssohn, Bartholdy and Kasseckert / Böttcher, Südwestdeutsches Kammerorchester Pforzheim
Her playing may aptly be described as emotional and intense. Displaying “amazing expressiveness and brilliance” (Westfalenpost) and “an empathy that touches one deep inside” (Märkische Allgemeine), Gerlint Böttcher fascinates her audiences in Europe, Asia, America and the Middle East. She makes solo appearances with such celebrated orchestras as Berlin’s Konzerthaus Orchestra, the South-West German Chamber Orchestra of Pforzheim, the Berlin Symphony, the Ryazan Philharmonic in Russia, the Philharmonic State Orchestra in Halle and the Brandenburg State Orchestra of Frankfurt an der Oder under such conductors as Sergey Oselkov, Heribert Beissel, Timo Handschuh and Nicholas Milton. The pianist is a regular performer at major festivals; in cooperation with the Bayreuth Festival, she has repeatedly played at Haus Wahnfried in Bayreuth. Many of the compositions that she has premiered were written expressly for her by composers of the first rank. Alongside the solo repertoire, which takes first place in her artistic life, she takes part in programmes of genuine rarities together with such partners as Echo Klassik prizewinners Bassiona Amorosa and actor Hans-Jürgen Schatz.
Claudio Abbado conducts Mozart
Sony Classical is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new budget-priced releases contain classic recordings, many of them newly remastered, by some of the most celebrated musicians of the 20th century. “Claudio Abbado and the Berlin Philharmonic once again defy the inexorable progress of period performance in exhilarating accounts of Mozart using modern instruments,” opined Gramophone. The new reissue of these recordings from the early 1990s includes several favorite symphonies, the Sinfonia Concertante for violin and viola, the Masonic Funeral Music, a serenade and divertimento as well as the C minor Mass, of which “Abbado’s performance is wide-ranging, delivering most satisfyingly on every aspect of this hugely varied score. He has an impressively unified team at his disposal, with a superb quartet of singers: in fact Bonney and Auger are as well matched as you could reasonably expect to find in the impossibly demanding Domine Deus duet” (Music-Web International).