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.
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Mozart: Flute Quartets on Period Instruments / Valter, Valetti, Biely, Skalka
Ars Produktion · Oct 2019SACD$21.99 -
Mahler: Das Klagende Lied; Blumine, 10 Symphony / Blunier, Beethoven Orchestra
MDG · Apr 2013SACD$24.99 -
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Stravinsky: Divertimento - Shostakovich: Violin Sonata
Audite Musikproduktion · Jan 2012SACD$21.99 -
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SaleMozart: The Complete Piano Trios / Gulyas, Szabadi, Onczay, Szucs
Hungaroton · Nov 2018CD$37.99$26.99 -
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Herzogenberg & Brahms: String Quartets / Minguet Quartet
The first quartet in G minor is by far the most satisfying. There’s a delightful air of lilting melancholy wafting through the first movement, and although the formal structure is daringly expansive, Herzogenberg manages to mold his wealth of ideas into a reasonably coherent whole. The slow movement is a series of variations on a theme that seems dully predictable at first but is relieved by an accretion of increasingly inventive detail. A tuneful and metrically playful scherzo is followed by a high-spirited, folk-inflected finale that’s only slightly blemished by an overlong coda.
There are charming moments in the two other quartets of the set, though these come fewer and farther between. But just when your patience could begin to wear thin, there’s a delicious dab of instrumental color, or a demonstration of contrapuntal legerdemain that reminds you of Herzogenberg’s worth.
– Gramophone
Schubert: Explorations / Mathieu Gaudet
The new album Schubert: Explorations by pianist Mathieu Gaudet is the fourth volume in his wonderful collection The Complete Sonatas and Major Works for Piano of the great German composer Franz Schubert. Between his early “post-Mozartean” sonatas and late masterpieces of symphonic proportions, Schubert spent the years 1817 and 1818 exploring the possibilities of the piano sonata, through unusual harmonic relationships, intensive use of trills, heightened virtuosity, lengthy chord repetitions and extreme dynamic contrasts. We find on the album two works from this early period as well as two others from 1823-24 which are true jewels that contain all the essence of his genius.
Intimate Impressions / Adam Cicchillitti, Steve Cowan
The excellent new album Intimate Impressions for Two Guitars by the duo Adam Cicchillitti and Steve Cowan consists of music originally written for piano, harp, or two guitars by leading 20th century composers who spent the bulk of their careers working in Paris, such as Ravel, Debussy, Mompou, Tailleferre, and Jolivet. The arrangements, the majority of which are by the Cicchillitti/Cowan duo, eloquently illustrate that the tone colors, intimacy, and pure lyricism of the composers’ styles are ideally suited to the guitar, and that the harmonic language translates beautifully to a guitar duo. Simply captivating!
REVIEW:
New additions to the guitar duo repertoire: 20th Century French works arranged for two guitars, artistically performed by Canadian guitarists who clearly have command of transcription skills, and also a unified delivery of the music in all its technical complexity and musical depth. Drew Henderson and Michael Kolk’s arrangement of the `Prelude’ from Ravel’s Tombeau de Couperin, the only arrangement in the program not by the duo, is nothing short of stellar in concept and execution. There follows the almost obligatory contemporary work on the program, Serenade by Andre Jolivet. Even though it was written for and premiered by Presti & Lagoya, an inspiring duo from the mid-1900s not known for avante-garde musical excursions, it disrupts the flow in this otherwise delightful program of warm and uplifting music. Liner notes by Richard Turp are well written and interesting, leaving the listener with a fairly complete picture of the music.
-- American Record Guide
Stravinsky conducts Stravinsky: Symphonies and Concertos
Hearing a composer conduct their own work offers the potential for fascinating interpretive insights and comparisons, all the more so when the composer in question is one of the most-influential names in 20th century music. Presented in this 3 CD boxed set are some of the composer’s most important works, including the Symphony of Psalms, Symphony in C, Dumbarton Oaks, Violin Concerto in D, and more. The collection also features a number of world renowned soloists, including Charles Rosen, Isaac Stern, Benny Goodman, and Philippe Entremont.
Mozart: Flute Quartets on Period Instruments / Valter, Valetti, Biely, Skalka
Mahler: Das Klagende Lied; Blumine, 10 Symphony / Blunier, Beethoven Orchestra
Mahler initially had a hard time of it. A few compositional attempts from his youth did not turn out to his liking and were destroyed. When Das klagende Lied finally met with his own critical favor, he stated, "My first work in which I have found myself as 'Mahler'!" Here it is heard in colorful contrast to the fragment from his last symphony and the "Blumine" andante originally intended for the first symphony. The Beethoven Orchestra of Bonn under its resourceful conductor Stefan Blunier is in top form on this fascinatingly detailed look at Mahler's compositional workshop.
Stravinsky: Divertimento - Shostakovich: Violin Sonata
Mozart: Don Giovanni / Rhorer, Le Cercle de l'Harmonie
Here is the third and last instalment in the ‘Live at the Théâtre des Champs-Élysées’ series of Mozart operas conducted by Jérémie Rhorer. After Die Entfuhrung aus dem Serail and La clemenza di Tito comes Don Giovanni, recorded in 2016. On the occasion of the performances (directed by Stéphane Braunschweig) during which Radio France recorded the present discs, Le Figaro wrote: ‘Jérémie Rhorer expertly conducted his orchestra “Le Cercle de l’Harmonie”. On the stage, Jean-Sébastien Bou sang and acted the title role impeccably. He was seconded by his valet Leporello, superbly played by the Canadian Robert Gleadow. A thrilling production both musically and intellectually.’ The cast is completed by the ardent Myrtò Papatanasiu in the role of Donna Anna, the lovely voice of Julie Boulianne as Donna Elvira and the elegant timbre of Julien Behr as Don Ottavio, not forgetting the magnificent Commendatore of Steven Humes and the lively Zerlina and Masetto of Anna Grevelius and Marc Scoffoni.
Beethoven: Final Piano Sonatas / Anton Kuerti
Beethoven: Symphony No. 9 in D Minor / Goehr, Netherlands Philharmonic
As a master student of Arnold Schönberg, Walter Goehr was particularly fond of New Music, but as a conductor he devoted himself to compositions from previous centuries. The present recording of a concert from 1955 with Beethoven's Ninth Symphony, which he recorded with the Netherlands Philharmonic Orchestra and Chorus, documents that he did this very successfully. Goehr was born in Berlin, but, being a Jewish man, he was forced to seek employment outside of Germany after working for Berlin Radio in 1932. He was invited to become music director for the Gramophone Company, and thus moved to London. It was during this time he conducted the London Philharmonic Orchestra in the premiere recording of Bizet’s Symphony in C. He was in high demand as a guest conductor for orchestras all across Europe, including the ensemble heard in this historic recording.
Beethoven: The Complete Sonatas / Brautigam
The 32 Piano Sonatas by Ludwig van Beethoven are often referred to as the ‘New Testament’ of the keyboard literature, following on the ‘Old Testament’ of J.S. Bach's 48 preludes and fugues in the Well-Tempered Clavier. Composed over a period of almost three decades, from 1795 to 1822, the sonatas constitute a fascinating panorama of an artistic career which underwent numerous changes – not to say upheavals – but nevertheless remained remarkably consistent. Ever since the first recording of the entire cycle, by Artur Schnabel in the 1930s, a number of the world's leading pianists have given us their performances of this monumental collection on disc. One of the latest cycles is that of Ronald Brautigam, released on single discs between 2004 and 2010. Performed on the fortepiano, as part of a series of Beethoven's complete solo keyboard works, Brautigam's recordings have been described as ‘riveting’, ‘compelling’ and ‘revolutionary’. The eight discs with the 32 sonatas are now being released as a boxed set, along with a ninth disc containing the early, unnumbered sonatas. Contributing factors to the ‘refreshing directness’ that reviewers have experienced in these performances are the widely praised recorded sound and the carefully selected instruments, built by Paul McNulty after originals from 1788-1819 by the foremost Viennese makers of fortepianos. For this boxed set, the original SACD format has been retained – along with the possibility of listening to the performances in surround – thus offering the opportunity of sharing the experience of one reviewer: ‘One has almost the impression of being a contemporary of Beethoven’s: one of the first, infinitely startled – not to say shocked – witnesses to this music’ (Süddeutsche Zeitung).
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REVIEW:
Much of the playing here is sensational. Notice the pronounced rhetorical emphasis yet intensely focused dotted rhythms in the Pathétique’s introduction, or the revelatory continuity from one variation to the next in Op 14 No 2’s uncommonly quick central movement. Those who think that even Brautigam’s sturdy fortepiano cannot approximate an orchestra should check out Op 22’s first movement, where the full-bodied octaves and brilliantly judged ‘Rossini’ crescendo just before the recapitulation make a pulverising impact.
And what about the Moonlight finale’s controlled fury and slashing momentum that remain musical to the core, or how those Op 10 No 1 and 2 finales rock and roll while retaining maximum linear clarity? Few others rightly feel Op 10 No 3’s Minuet as one beat to a bar and effectively spin out the left-hand counterlines. Among the heroic middle-period works, perhaps Brautigam’s Waldstein and Appassionata make a cogent case for period instruments in regard to textural differentiation between registers, shorter pedal resonances, and being able to truly perceive rather than merely infer each pitch within low-lying chords and runs, abetted by Brautigam’s subtle yet expressively powerful tempo modifications and telling accents.
Brautigam’s late sonatas are never less than masterful.
– Gramophone
Amplified Soul / Martinez
Brilliant young Venezuelan pianist Gabriela Martinez has been taking the classical world by storm ever since her student days at Julliard. She has won consistent acclaim at top domestic and international venues for her brilliant technique, aesthetic sensitivity, interpretive acumen, and emotional impact. Here, in her first recording for Delos, she offers a wide-ranging program of classics by Beethoven, Rachmaninoff, and Szymanowski. She also pays homage to acclaimed contemporary composers Mason Bates and Dan Visconti whose title selection, Amplified Soul, was written for her and is heard here in its world premiere recording. Piano fans who want to keep up with the brightest new talents in the field owe it to themselves to get to know this phenomenal keyboard virtuoso.
Mozart: The Complete Piano Trios / Gulyas, Szabadi, Onczay, Szucs
Mozart’s first three full-fledged piano trios were composed in his most prolific period: in the summer and autumn of 1786. At that time he had spent five years in Vienna, and the aristocratic circles were beginning to recognize his extraordinary genius. He gave solo piano recitals, worked as a conductor on a regular basis, rehearsed his own compositions, received private students, and was involved in the social life of the imperial capital. Two years later Mozart added three new grandiose piano trios to the repertory of the chamber music genre. They are preceded by two pieces: the first is one of the composer’s early chamber works, followed by a piece compiled by Abbé Stadler from various musical fragments and entitled Three movements for piano trio. Pianist Marta Gulyas holds the Liszt Prize, and has been a teacher at the Liszt Academy since 1978 and a professor at the Madrid Royal Conservatory since 1991. Two time MIDEM award-winner violinist Vilmos Szabadi works as an associate professor at the Liszt Academy of Music as the Head of Violin Department. As a leading violoncellist of his generation Csaba Onczay has been awarded several prestigious prizes including the Liszt Prize, the Meritorious Artist Award, and the Kossuth Prize. He currently teaches at the Liszt Academy as a professor emeritus. Viola player Mate Szucs performs with renowned musicians and ensembles across the world, and has taught viola at the Karajan Academy of the orchestra since 2013. He has been teaching at the Liszt Academy since 2015.
LA FLUTE ENCHANTEE
If You Love For Beauty
Showcasing Metropolitan Opera and GRAMMY® Award-winning mezzo-soprano Cooke, and the Colburn Orchestra led by Gilad. The recording includes Mahler’s Rückert-Lieder, the aria ‘Am I in Your Light?’ from Doctor Atomic by John Adams, Chausson’s sweeping Poème de l'amour et de la mer, all with full orchestra, and two Handel arias, ‘Scherza infida’ and ‘Ombra mai fu’ performed with chamber orchestra. The members of the Colburn Orchestra create a distinct orchestral sound (a great one), and Maestro Gilad elicits sensitive and lyrical interpretations of the repertoire. This recording won the Audio Oasis Award even before it was released at THE SHOW in Newport, 2012.