{"title":"Best-Sellers Sale","description":"\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eDiscover what everyone’s been listening to—\u003cstrong\u003eover 300 \u003c\/strong\u003eof our\u003cstrong\u003e Best-Sellers\u003c\/strong\u003e, all in one place. From timeless essentials to today’s most in-demand recordings, explore the albums our customers can’t stop coming back to!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eBrowse titles from \u003cem\u003eStacey Kent\u003c\/em\u003e,\u003cem\u003e Kip Winger,\u003c\/em\u003e \u003cem\u003eGuarneri Quartet\u003c\/em\u003e and more! \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eShop the sale now before it ends at 9:00am ET, Monday, June 22nd, 2026.\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"a-choral-christmas-jones-trinity-choir-of-247134","title":"A Choral Christmas \/ Jones, Trinity Choir Of Boston","description":"From the first few seconds of this new recording from Brian Jones and his Trinity Choir, you know it's Christmas. The flute and bell sounds, the dancing rhythm from the organ, the prodigiously joyful voices, and the catchy, unmistakably Rutter-esque melody combine to set off the sparks that promise a bright, happy, thoughtfully and lovingly compiled program. I say \"lovingly\" because this is the type of programming that, as usual with Jones, is not made with the \"snooty\" or \"snobbish\" in mind, but comes purely from the heart and from the experience of a director who knows and cares about the real listening tastes of his audience. (You've got to admire anyone who convincingly and with conviction programs \"The Holy City\" alongside works by Britten and Vaughan Williams, as he did on an earlier recording for Gothic Records.) And, as reflected here, those tastes, especially in Christmas music, cover a fairly wide range--from Rutter (three pieces) to Poulenc (O magnum mysterium) to Luboff (his well-loved arrangement of the Austrian carol Still, still, still).\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The opening tune indeed is by John Rutter, a setting of the 15th-century text \"Sing we to this merry company\", and it's quickly followed by the Luboff arrangement, Gerald Near's setting of Ding! dong! merrily on high, and the well-known Pearsall version of In dulci jubilo. The combination of familiarity and audience-favorite continues throughout the rest of the 21 selections, with classics such as Rutter's all-time most-popular What sweeter music, Elizabeth Poston's Jesus Christ the apple tree, and Poulenc's motet O magnum mysterium. But mixed in among these revered gems are many less well-known pieces, including a snazzy, bluesy Noël nouvelet arranged by Stephen Jackson, Michael Head's charming and lovely The little road to Bethlehem, and of course a Charles Wood arrangement, Once as I remember (Wood is a Jones favorite).\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e The choir, one of North America's treasures, always is a treat to hear, displaying not only an enormous stylistic command but also uncommon technical range and interpretive sensitivity. I've said this before, but it's still true: The soprano section would be the envy of any choir. However, the entire ensemble manages a consistent cohesiveness and sonic refinement that's rare among amateur choirs in any part of the world. Even in small details, the choir shows extraordinary care and attention--for instance, in the perfectly rendered endings to the simple but so-often-troublesome \"Gloria\" line in Ding! dong! merrily on high. And for sheer strength and unity of sound, listen to the choir's rendition of Holst's On this day earth shall ring. Other highlights include Bob Chilcott's Mid-winter, a setting of the Christina Rossetti text \"In the bleak mid-winter\" that's become an instant favorite all over the world. Jones himself contributes a very effective arrangement of O little town of Bethlehem that joins the two \"competing\" tunes St. Louis and Forest Green. Although I would prefer a warmer, softer-edged sound in the Poulenc to really capture the \"mysterium\" in the work, and slightly better-tuned tenors in some places (What sweeter music, for example), this is a first rate recording that will satisfy all listeners looking for an ideal all-around Christmas choral collection. The sound, made in Boston's Trinity Church, captures the detail of choir, organ, and occasional percussion while faithfully capturing the fullness and resonance of the church's magnificent space.\u003cbr\u003e --David Vernier, ClassicsToday.com","brand":"Sono Luminus","offers":[{"title":"CD","offer_id":44627026215146,"sku":"053479324023","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/184399.jpg?v=1778187410"},{"product_id":"christmas-star-carols-for-the-christmas-season-244597","title":"Christmas Star - Carols For The Christmas Season \/ Rutter, Cambridge Singers","description":"Another classic from the John Rutter and the Cambridge Singers, whose recordings have become a tradition of Christmas around the world.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003cbr\u003e \u003cbr\u003e\u003cem\u003eChristmas Star\u003c\/em\u003e is an entertaining collection of familiar holiday tunes and carols, all professionally performed by the Cambridge Singers. This is good, straight a cappella holiday mus­ic and should satisfy fans of that style[.]\u003cbr\u003e \u003cbr\u003e ­– All Music Guide (Stephen Thomas Erlewine)","brand":"Collegium Records","offers":[{"title":"CD","offer_id":44626842943722,"sku":"040888050322","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/198745.jpg?v=1778295347"},{"product_id":"the-stories-of-foster-sousa-255380","title":"The Stories Of Foster \u0026 Sousa","description":"\u003cp\u003eThis disc contains musical selections and narration discussing the lives of Stephen Collins Foster and John Philip Sousa.\u003c\/p\u003e","brand":"Vox","offers":[{"title":"CD","offer_id":44626216616170,"sku":"047163851520","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/268969.jpg?v=1778188898"},{"product_id":"the-stories-of-vivaldi-corelli-255375","title":"The Stories Of 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The performances marked the beginning of a new chapter in Mahler interpretation, for Rattle, like his predecessors Jansons, Maazel and Kubelík, is an ardent admirer of the composer. BR-KLASSIK has now released the live recording of the concerts.\u003c\/p\u003e\n\u003cp\u003eGustav Mahler's Sixth Symphony is perhaps the darkest work he ever wrote – its nickname is \"The Tragic\". And there is something almost destructive about the final movement. \"But strangely enough,\" says Simon Rattle, \"it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his – although of course it does convey a harrowing message. But it's like a lot of great works: there are always different ways of reading them. 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Once turning points in the lives of Shostakovich and Rachmaninoff, these works have stood the test of time, rewarded with commanding performances by cellist Carmine Miranda and pianist Robert Marler.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell2_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThese two well-known sonatas are treated to handsome performances. The Shostakovich is perhaps a touch too Romantic, with prominent cello slides, yet a wonderful sense of buoyancy. 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Hildegard was an extremely accomplished composer, as well as a scientist, a diplomat, a poet, and the founder of a religious community. Her melodies rise out of Gregorian chant, with wide voice ranges that are suited to trained singers. The florid imagery of Hildegard’s texts is matched by suitably florid tunes, whose calculated intervals suggest both vocal improvisation and carefully controlled composition. Hildegard had the ability to write tunes whose very essence is simultaneously spontaneous yet structured. And such was Hildegard’s character – on the one hand she was intensely practical, and on the other she was a vessel for dreams and visions. Grace Davidson is a British soprano who specializes first and foremost in the performance and recording of Baroque music. she has worked as a soloist with leading Baroque ensembles, under the batons of Sir John Eliot Gardner, Paul McCreesh, Philippe Herreweghe and Harry Christophers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThere have been many recordings of Hildegard’s works but here Grace Davidson, singing alone, unfolds a tapestry of sounds filled with exceptional purity, mellifluous continuity and a focused sense of form. The vocal techniques of breath control (the long verses in \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eAve generosa\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e), the command of the stunning leaps and dizzying meanderings of melody (\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eO Ecclesia\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e), and the subtle colouring of modal changes (\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eO presule\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e) are very impressive. An exceptional recording then, though occasionally a more differentiated approach might be possible – perhaps distinguishing slightly between narrative text and dialogue (\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eO Ecclesia\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e), or allowing some of the darker content (in \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eO Jerusalem\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e for example) to influence the grain of the voice and the articulation of consonants.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e-- \u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012445622506,"sku":"635212071724","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129456-2933865.jpg?v=1778241407"},{"product_id":"c-p-e-bach-sonatas-for-keyboard-violin-podger-bezuidenhout","title":"C.P.E. Bach: Sonatas for Keyboard \u0026 Violin \/ Podger, Bezuidenhout","description":"\u003cp\u003eThe Baroque dream team of Rachel Podger and Kristian Bezuidenhout interpret the astonishing music of C.P.E. Bach’s Violin Sonatas in C Minor, B Minor, D Major and G Minor. The two early sonatas here from the 1730s resemble the older style of his father. Listening to these works, you can imagine J.S. Bach glancing over Emanuel's shoulders while he wrote them as a teenager at home in Leipzig. The later sonatas, written 30 to 50 years later, reveal an emancipated composer whose developed musical language embodies the 'Empfindsamer Stil', the directly emotional and rhetorical style characteristic of northern-german music of the time.\u003c\/p\u003e\n\u003cp\u003eRachel Podger writes: “It was wonderful to delve into the specific musical world that belongs to C.P.E. Bach for this recording with Kris. These violin sonatas are (quite unfortunately!) largely overshadowed by the classical Viennese sonatas of Mozart and Beethoven. Part of his genius is that he is full of surprises and unpredictable turns, and this was hugely enjoyable for me during the musical partnership with the wonderful Kristian Bezuidenhout.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRachel Podger and Kristian Bezuidenhout are performers of the highest level of technical polish, and I am especially impressed by Bezuidenhout’s imaginative and assertive pianism. Podger’s violin was built by the Genoese maker Antonio Pazarini (Pesarinius) in 1739. Excellent sound from Channel as usual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- American Record Guide\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAcross the later sonatas Kristian Bezuidenhout and Rachel Podger savor the qualities of coaxing, pleading, playfulness, and arresting quirkiness that signal their identification with the so-called Empfindsamer Stil. But nothing is ever cut and dried. The keyboard opening of the B minor Sonata, composed some three decades after its G minor cousin, sounds like a throwback to the teenage work. And, rich in Empfindsamer fingerprints, the Arioso with five variations proves to be a 1780 respray of an earlier work.\u003c\/p\u003e\n\u003cp\u003eAt one level, Bezuidenhout and Podger help to pinpoint the chronology, allotting a handsome-sounding copy of an 1805 Walther fortepiano to the later works and a Taskin-inspired harpsichord to the products of the 1730s. It’s just one example of the thoughtfulness with which they approach a set of performances that are as equally persuasive in the bustling, youthful incisiveness of the G minor and D major Sonatas, as in the pristinely-paced, probingly expressive whimsy of the Arioso. Their music-making is infectiously spontaneous yet tellingly ‘considered’ – seamless rapport and impeccably-judged articulation delighting in a stream of illuminating felicities. CPE Bach’s free-spirited sonatas have surely found their free-spirited match.\u003c\/p\u003e\n\u003cp\u003e-- BBC \u003cem\u003eMusic \u003c\/em\u003eMagazine\u003c\/p\u003e\n\u003cp\u003eThis is how it’s done, my friends. A completely scrumptious new release from the queen of the Baroque violin, Rachel Podger. In partnership with keyboardist Kristian Bezuidenhout, Rachel gives to us a bit over an hour of completely entrancing music by the often underestimated Carl Philipp Emanuel Bach (1714–1788), fifth child and second surviving son of Johann Sebastian Bach.\u003c\/p\u003e\n\u003cp\u003eThere should be nothing underestimated about these keyboard and violin sonatas. They are imaginative, innovative, sublime. Add to this the impeccable performances, with that breath of life Rachel delivers so well in all of her performances, the excellent partnership with Kristian Bezuidenhout, and the utterly delightful recording quality from Jared Sacks, and one has an album to savor again and again. It is a must listen recording.\u003c\/p\u003e\n\u003cp\u003eThere is pure joy in Podger's performances, one feels her connection with music, the composer, and her audience. Kristian Bezuidenhout is her perfect partner in these works, As with Podger, his playing is not tied to a metronome. He plays, as does she, with a degree of improvisational exploration that makes these works far more interesting than in many other hands.\u003c\/p\u003e\n\u003cp\u003eListening to them together, one feels their connection in this music. I was particularly struck by this in their excellent performance of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSonata in C minor\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhich fairly danced with barely contained energy in the final Presto movement – their timing together is exquisite.\u003c\/p\u003e\n\u003cp\u003eThe shift from harpsichord to fortepiano and back again adds great interest to the recital. With the change in instruments, the texture of the sound changes. The balance of the violin and the keyboard shifts. Hard to accomplish in a live performance, but a delightful gift across the breadth of this recording.\u003c\/p\u003e\n\u003cp\u003e-- Paul Rushton of \u003cem\u003ePositive Feedback\u003c\/em\u003e\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"SACD","offer_id":46012447490282,"sku":"723385415237","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4196597-3124719.jpg?v=1778258344"},{"product_id":"schumann-complete-works-for-piano-881488220742","title":"R. Schumann: Complete Works for Piano \/ Uhlig","description":"\u003cp\u003eFor over 60 years, repeated efforts have been made to capture on recording Robert Schumann’s Complete Works for Piano solo, a fascinatingly broad and varied spectrum ranging from highly virtuosic pieces for the concert hall and valuable literature for teaching purposes. This attractive and yet challenging assignment was not always approached with the necessary intellectual rigor, quite apart from any purely artistic shortcomings, and so none of these sets can justly be deemed “complete”. Schumann had published a string of works in two more or less divergent versions, so that it is highly questionable whether an edition can be labelled “Complete Recordings” if it only contains one of those versions or worse still, makes a misguided attempt to combine two of them. Meanwhile, works that were published at remote locations or remained unpublished have hitherto been taken into account only in exceptional cases.\u003c\/p\u003e\n\u003cp\u003eThe first true complete recording of Robert Schumann’s works for piano solo on 17 albums (in 15 volumes), played by Florian Uhlig, seeks for the first time to offer imaginative compilations containing all original works for pianoforte written between 1830 (Abegg Variations op. 1) and 1854 (Ghost Variations) according to the newest critical editions and\/or first editions. Several of these albums also contain premiere recordings, often of fragments that were amenable to completion. After the project was completed in 2021, it was evident from a further critical inspection of the five Studien- und Skizzenbücher held in the University and State Library in Bonn, and from the volumes of the complete piano works for two hands that have so far appeared in this comprehensive and groundbreaking edition, that there is a string of either very short complete or longer fragmentary pieces dating from about 1830 to 1837 that are worthy of attention.\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012448964842,"sku":"881488220742","price":64.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4140700-2910072.jpg?v=1778248074"},{"product_id":"the-psalms-nesthingha-st-johns","title":"The Psalms \/ Nethsingha, Choir of St. John's College, Cambridge","description":"\u003cp\u003eThe Choir of St John’s have received glowing praise for their previous releases, culminating in the choral prize at the 2017 BBC Music Magazine Awards for their debut release of works by Jonathan Harvey. The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world, known and loved by millions from its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known for its distinctive rich, warm sound, its expressive interpretations and its breadth of repertoire. Alongside these musical characteristics, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere, which as of 2022 invites their first female scholars.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the consistent features of the St John’s recordings that have come my way has been the excellence of the documentation. This latest release is no exception. The booklet contains a general introductory essay about the Book of Psalms by Rev, Andrew Hammond, the College Chaplain. He also contributes short notes on each of the chose psalms while the organist John Challenger furnishes succinct details about the composer of the chants to which each psalm is sung. As usual, though, at the heart of the booklet is an absorbing essay by Andrew Nethsingha. On this occasion he discusses such matters as how psalm chants should be pointed and, of especial relevance, gives us insights into how the psalmody developed at St John’s.\u003c\/p\u003e\n\u003cp\u003eThe recorded sound is very good indeed. It’s also remarkably consistent given that producer Chris Hazell and engineer Simon Eadon recorded the choir in five different sessions over four years.\u003c\/p\u003e\n\u003cp\u003eThis is another fine addition to the distinguished discography of Andrew Nethsingha and the Choir of St John’s College, Cambridge.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012449292522,"sku":"635212072127","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4123021-2867434.jpg?v=1778241379"},{"product_id":"into-the-light-cantus","title":"Into The Light: Christmas Music for Low Voices \/ Cantus","description":"\u003cp\u003eAfter two successful albums on Signum Records, the American vocal ensemble Cantus present their first Christmas album, \u003cem\u003eInto The Light\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe “engaging” (New Yorker) low-voice ensemble Cantus is widely known for its trademark warmth and blend, innovative programming and riveting performances of music ranging from the Renaissance to the 21st century.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Into the Light” reaches into pockets of brightness and the anticipation of a happier New Year as the sun anxiously arcs back to longer days.\u003c\/p\u003e\n\u003cp\u003eCantus, an\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ea cappella\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eensemble featuring the deeply rich resonances of eight distinguished male voices, ushers in the holidays most unconventionally. Though several favorites are represented, the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003estatus quo\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis turned upside down. A heavy investment of arrangements and adaptations surfaces and in the most extraordinary way. Rhythmic textures also cut across a wide range of grains, providing an irresistible élan. Note cutoffs, dynamics and tempos are immaculate while chording is uniquely contemporary and full of positivism…\u003cem\u003ethis\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis what adds such special luminescence.\u003c\/p\u003e\n\u003cp\u003eAs an example, Cantus captures the pulsating essences of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAguinaldo Carols\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith its jazzy verve. Christmas is nuanced inside Joni Mitchell’s 1971 bittersweet\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRiver\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhich leans to the heavier gravity of the album, including the nostalgic\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWe Toast the Days\u003c\/em\u003e, penned by Minnesotan Linda Kachelmeier. A special treat is Chris Foss’ World Premiere take of Clement Clarke Moore’s epic poem that sparkles with quixotic notes and unusual vocal dynamics...this piece holds the listener in deep fascination, and it renders big smiles and a chuckle or two! On another dimension Reginald Bowens tips his hat to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI Saw Three Ships\u003c\/em\u003e, giving the traditional English melody a sassy Manhattan Transfer‑like lilt that lifts the piece onto the page of modernity. Traditional music from around the world is also respectfully represented. Occasionally Cantus utilizes an instrumental accompaniment, such as the guitar (and energized\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChildren Go!\u003c\/em\u003e) or the percussive woodblock (a spirited\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMensaje de Paz\u003c\/em\u003e) that adds to the album’s variety.\u003c\/p\u003e\n\u003cp\u003eCantus brings thoughtful reminder of hope and happiness as we glance inside the portal of the future. Though a minuscule light beams at this time of year, the apex will broaden as we ring in 2023.\u003c\/p\u003e\n\u003cp\u003eCantus is a shining, pulsating octet…perfect in precision, innate in integration.\u003c\/p\u003e\n\u003cp\u003e-- ConcertoNet\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012451291370,"sku":"635212072325","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118867-2867399.jpg?v=1778241360"},{"product_id":"weinberg-dawn-symphony-no-12-storgards-bbc-philharmonic","title":"Weinberg: Dawn; Symphony No. 12 \/ Storgårds, BBC Philharmonic","description":"\u003cp\u003eEvery five years the Soviet Union celebrated the anniversary of the October 1917 Revolution with large-scale public events, to which the country’s leading artists were expected to contribute. Mieczyslaw Weinberg, like his friend Shostakovich, enjoyed mixed fortunes with his efforts. The symphonic poem Dawn (Zarya), Op. 60, dedicated to the fortieth anniversary of the Revolution, seems to have remained unperformed during his lifetime, despite its ideologically irreproachable content. Its première was finally given in the BBC studios in Manchester, on 15 May 2019, by the BBC Philharmonic under John Storgårds.\u003c\/p\u003e\n\u003cp\u003eWhen Shostakovich died, on 9 August 1975, it had been five years since Weinberg composed his last symphony. To commemorate his friend and mentor (whom he regarded as the greatest symphonist of his age) Weinberg decided on a full-scale, four movement, non-programmatic work as his personal tribute. Symphony No. 12, written between December 1975 and February 1976 is the longest of Weinberg’s purely instrumental symphonies. Kirill Kondrashin was due to conduct the première, but his last-minute insistence on large-scale cuts and changes to the score was taken by Weinberg as a great insult, and ended their relationship. 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Wagner’s opera opened the first post-war festival on the 30th of July, 1951, the day after the former Bayreuthian Wilhelm Furtwängler had performed Beethoven's 9th Symphony.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHans Knappertsbusch led Wagner’s Parisfal at the Bayreuth Festival in 1951 and 1952, and then annually from 1954 through 1964. For some reason his August 16, 1955 performance has never surfaced on CD until now, and it’s one of Kna’s stronger Parsifals.\u003c\/p\u003e\n\u003cp\u003eTempos are generally faster and more fluid than in the commercial 1951 recording. Compare the Act 1 Prelude’s Grail theme and the Transformation music, the Act 2 Flowermaiden’s scene, and the Act 3 Good Friday Spell in both recordings, and you’ll hear what I mean. Furthermore, Act 1’s recalcitrant bells had been replaced by 1955 with an electronic version that was reliable in intonation yet made less sonorous and majestic an impact.\u003c\/p\u003e\n\u003cp\u003eOne can argue that 1955’s cast is the most consistently satisfying out of all the Kna Bayreuth Parsifals, with no weak links. Ludwig Weber reprises his distinctive and lieder-like Gurnemanz from 1951. Hermann Uhde’s heavy voice is better suited to Titurel’s gravitas here than Klingsor’s malevolence in 1951. 1955 features Gustav Neidlinger’s Klingsor, which is as riveting a piece of vocal acting as his legendary Alberich in Das Rheingold.\u003c\/p\u003e\n\u003cp\u003eRamón Vinay sings rather than barks the title role, and the unforced lyricism of his top notes seems to spur on Martha Mödl to deliver her best all-around Act 2 Kundry. 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A student of the late Claudio Arrau, Mr. Ohlsson is especially noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. He is the only American to win first prize in the International Chopin Piano Competition.\u003c\/p\u003e\n\u003cp\u003eThis new recording represents a pinnacle in his career. The Grand Teton Music Festival Orchestra consists of top talent from across the country, including more than 220 musicians from 90 orchestras and 65 institutions of higher learning, many performing together each summer for over 25 years. The Festival, founded in 1962, also welcomes yearly some of the most sought-after soloists and visiting artists in classical music today. Under the baton of world-renowned conductor Sir Donald Runnicles, these musicians come together to gather inspiration from the mountain setting and to provide spectacular music for Festival audiences. 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Unlike many pianists who rattle off the “Emperor” concerto’s introductory cadenza like a day at the races, Ohlsson’s shapely phrasing draws attention to the composer rather than to himself. I’m especially taken with Ohlsson’s vocally informed legato and rapt sustaining power in all five slow movements, where he strikes a happy medium between his one-time mentor Claudio Arrau’s rhetorical inflections and Wilhelm Kempff’s luminous intimacy (the pianist’s hauntingly calibrated left-hand tremolos in No. 3’s Largo seem to emerge from afar). The assiduously dovetailed rapid exchanges between soloist and orchestra in No. 4’s Rondo either result from painstaking rehearsal or profound mental telepathy.\u003c\/p\u003e\n\u003cp\u003eTo be sure, all is not perfect: Tempos bog down in No. 1’s Allegro con brio from the development section on, while No. 2’s underplayed Rondo Finale lacks the bracing angularity that Schnabel, Kapell, Gould, and Fleisher brought to this music. The Creatures of Prometheus Overture that follows the “Emperor” on Disc 3 begins with a crisp, hard-hitting introduction, then settles into auto-pilot for the main section. If the Ohlsson\/Runnicles Beethoven cycle falls short of the freshness and individuality distinguishing recent contenders like Zhang\/Stutzmann, Barnatan\/Gilbert, and Hough\/Lintu, these superbly engineered recordings still offer much to savor.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e-- ClassicsToday.com (Jed Distler)\u003c\/p\u003e\n\u003cp\u003eOf all pianists before the public today, Ohlsson’s technique is among the most honest. Every note is present and accounted for, nothing ever fudged, all within an exquisitely calculated proportionality. His approach is, above all, lyrical. 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