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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SaleBeethoven: String Quartets Nos. 3 & 14 - Hillborg: Kongsgaard Variations / Calder Quartet
PENTATONE · Apr 2019SACD$21.99$16.99 -
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Mozart: Requiem - Bach: Ein feste Burg / Masters, New Jersey Chamber Singers & Orchestra
Affetto Records · Nov 2018CD$18.99 -
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SaleSchubert: The Piano Trios / Irnberger, Geringas, Korstick
Gramola Records · Feb 2017SACD$31.99$23.99 -
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SaleBeethoven: Symphonies nos. 4 & 7 / Masur, Gewandhausorchester Leipzig
PENTATONE · Jul 2005SACD$21.99$16.99 -
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SaleBeethoven: Symphonies Nos. 4 & 7 / Blunier, Beethoven Orchester Bonn
MDG · Apr 2017SACD$24.99$18.99
Beethoven: Piano Sonatas Nos. 29-32
Michael Endres Plays Schubert
Michael Endres plays a wide-ranging repertoire including such rarely performed composers as Leopold Godowsky, Gabriel Fauré, Charles Ives and Eduard Tubin. The leading US critic Richard Dyer (Boston Globe ) described Endres as "one of the most interesting pianists who appear nowadays on CD". Michael Endres has recorded an equally wide-ranging repertoire for OehmsClassics, including releases with works of Schumann, Mendelssohn, Gershwin, Weber and the sonatas of Arnold Bax. The present album features works by Franz Schubert, including a special treat entitled the Kupelwieser Waltz. Endres’s playing has often been described as subtle, elegant, and refined, never taking the dramatic elements of the music to the extreme.
Bright Circle
Beethoven: String Quartets Nos. 3 & 14 - Hillborg: Kongsgaard Variations / Calder Quartet
The Calder Quartet invites you on a journey from early to late Beethoven, passing through an exciting contemporary piece by Swedish composer Anders Hillborg along the way. Beethoven’s Op. 131 string quartet, that concludes this album, is already a great adventure in its own right, with its seven movements full of fugal writing, harmonic explorations, variations and passages filled with operatic drama. Hearing this late masterpiece together with the much more classical, but equally lively, Op. 18 no. 3 quartet opens our ears to the exceptional richness of Beethoven’s musical universe. Hillborg’s Kongsgaard Variations reveals unexpected sonic relationships to Beethoven’s variation technique, underlining the modernity of the older composer. This all leads to a program that is lively, layered and ravishingly beautiful. Hailed as one of the most exciting classical music groups of the United States, the Calder Quartet now presents the first fruit of its exclusive collaboration with PENTATONE.
Schumann / Gabetta
Gabetta performs with passion throughout and excels with playing of conviction in the passages requiring brilliant virtuosic display. I enjoyed the generous Romanticism of the central movement marked Langsam with Gabetta expressing the characteristic songlike lyricism imbued in the score. At times, the writing feels like a love letter to Clara. In the closing movement, Sehr lebhaft, Gabetta’s striking playing is decisive with a sense of urgency. Playing a Giovanni Battista Guadagnini, Parma (1749) cello, Gabetta has been provided with recorded sound which is a touch too close for my taste. The Kammerorchester Basel, under Giovanni Antonini’s direction generally does full justice to Schumann’s orchestral writing but I find the louder passes slightly harder to judge as some of the detail is lost.
Gabetta has also included here three captivating sets of Schumann’s pieces for cello and piano, all written in 1849: the Five Pieces in Folk Style (Fünf Stücke im Volkston) for cello and piano, Op. 102, the Adagio and Allegro in the original version for cello and piano, Op. 70, and Three Fantasy Pieces (Fantasiestücke) in the original version for cello and piano, Op. 73. Here, Gabetta plays a Matteo Goffriller, Venice (c. 1725) cello and is accompanied Bertrand Chamayou using a fortepiano by J.B. Streicher, Vienna (1847). Gabetta’s performance is passionate and again her rich sounding cello is closely recorded and is balanced to slightly dominate the fortepiano. Although Chamayou’s fortepiano is of the period, I find it hard to enjoy its woody sound.
The booklet essay, entitled ‘Violoncello Works by Robert Schumann’ and written by Ruth Seiberts, is commendable.
– MusicWeb International (Michael Cookson)
Mozart: Paris & Vienna
Alfred Brendel - My Musical Life
When, in December 2008, six decades into his illustrious career, Alfred Brendel bade farewell to an emotional Viennese audience, it was not a “full stop”, as it may have appeared at that moment. Rather a “semicolon”. With more time on his hands, the celebrated pianist went on to focus on other activities – writing (essays on music, poetry), giving lectures, leading masterclasses. In January 2021, Brendel will celebrate his 90th birthday, possessing profound knowledge and experience, as well as a great zest for learning new things. And also a sense of humour, which he has often turned against himself. Precious few artists have influenced the perception and performance of music as much as Brendel has. He was the first to have recorded the complete Beethoven piano works, he succeeded in bringing Franz Schubert’s music back to the concert stage, among other achievements. Of late, Brendel has often visited Prague to give lectures and masterclasses at the Rudolfinum, highlights of which are captured on the present release. Beethoven, Mozart and Schubert are the figures he, as a pianist, treasures most. The autobiographical lecture My Musical Life provides the viewer with a glimpse of the universe full of paradox that gave rise to the legend called Brendel – unveiling the sources of his inspiration, education and artistry, that formed his vision of the world.
Mozart: Requiem - Bach: Ein feste Burg / Masters, New Jersey Chamber Singers & Orchestra
This live recording features the New Jersey Chamber Singers 40th Anniversary concert celebration. The program is anchored by the Mozart Requiem and also features festive works of Bach’s Reformation Cantata, Ein feste Burg, because 2018 also marked the 500th anniversary of the Lutheran Reformation. While it is more common to hear these works performed by larger ensembles, this historically-informed performance honors the repertoire’s intimacy by only employing 32 voices and a similarly sized orchestra. All three pieces on this album were touched by hands beyond those of their composers. While many purists have worked extensively to cleanse iconic works of foreign elements, this performance embraces them. Bach’s Ein feste Burg proudly features the extra parts for three trumpets and timpani added by his son, Wilhelm Friedemann Bach. Haydn’s Te Deum was written for Empress Marie Theresa even though he was employed to write music for the Esterhazy court in Eisenstadt. Even though the complete autograph is lost, trombone parts were later discovered to have been written in the hand of his copyist, Johann Elssler. So, it is probable that Haydn delivered a large-scale work including three trombones and three trumpets to the Empress, even though he performed a slightly down-sized version of the same work in Eisenstadt to accommodate the orchestral forces available to him. This recording boasts all extant parts. Finally and most famously, Mozart’s Requiem was completed by Süssmayr following his death in 1791. This album honors a perspective in which early music is still a living art that is capable of change and worthy of exploration.
Jascha Heifetz Collection, Vol. 5: The 1911 Russian Recordin
Beethoven: Symphonies No 7 & 8 / Weill, Tafelmusik
-- Toronto Star
Schubert: The Piano Trios / Irnberger, Geringas, Korstick
Secretly, I hope to make something of myself, but after Beethoven who can do anything? These words by the juvenile Franz Schubert might explain why it took him 15 years - until 1827, just one year prior to his death - to begin writing both of his great piano trios, works of epic, almost symphonic dimensions. This new interpretation by violinist Thomas Albertus Imberger with David Geringas, cello and Michael Korstick, piano works out the lyricism and thematic work as well as the affects and discontinuities which illustrate the large influence, that Beethoven's composing had on Schubert's oeuvre. Similar effects can be observed with the Notturno D 897, in contrast to the Trio Movement Allegro D 28, which being an early work exhibits closer ties to Mozart. Many awards, performances at international festivals and co-operations and recordings with musicians such as Jorg Demus, Evgueni Sinaiski or Paul Badura-Skoda as well as with the Israel Chamber Orchestra conducted by Roberto Paternostro and the orchestra "Spirit of Europe" under its principal conductor Martin Sieghart stress the young Salzburger's musical skills. Born in Vilnius / Lithuania, the cellist and conductor David Geringas is today numbered among the elite of music. His intellectual severity, stylistic versatility, his melodic feeling and the sensuality of the sound he produces have brought him awards from all around the world.
Beethoven: Symphonies nos. 4 & 7 / Masur, Gewandhausorchester Leipzig
MAHLER SYMPHONY NO. 1
Stravinsky: Ballet Music
Beethoven: Symphonies Nos. 4 & 7 / Blunier, Beethoven Orchester Bonn
The Beethoven Orchestra of Bonn concludes its complete recording of the symphonies of the composer whose name it bears with an absolutely rousing performance. The spirited Seventh Symphony brings together everything that General Music Director Stefan Blunier has demanded of his musicians from the very beginning of this cycle: emotional depth, gripping rhythms, frenetic energy, and powerful tension holding the audience in suspense even after the last chord has faded away. Prior to this work, however, the Bonn musicians show the Fourth Symphony in an entirely new light: no longer a bashful “wallflower,” it shines in its own special way between its two more famous neighbors.