Unfortunately it's not very often that we get to hear Mike LeDonne, world-renowned Hammond B-3 organist and leader of the acclaimed Groover Quartet, fronting a piano trio session-especially one that unfolds in as swinging, soulful and intuitive fashion. But given the caliber of artists involved, this won't come as a surprise since on this CD LeDonne works two of his closest and most accomplished friends: bassist Christian McBride and drummer Lewis Nash. It's no coincidence, then, that this unprecedented studio alliance sparks instant chemistry and conviviality. With a stack of new arrangements under his arm, LeDonne and company made the trek across the Hudson to the famed Van Gelder Studio and emerged with an album remarkable for it's spontaneity, creativity and sheer joy in the act of making music.

Martyn Brabbins and the BBC Symphony Orchestra perform one of the mightiest of first symphonies ever written. Vaughan Williams's setting of Walt Whitman creates a very special sense of occasion. The coupling is Vaughan Williams's later, virtually unknown, setting of Whitman's 'Darest thou now, O soul' for chorus and strings.

Beethoven: Piano Sonatas Vol.7 The latest installment of Angela Hewitt's much-lauded Beethoven cycle is bookended by the great 'Tempest' and Op.109 sonatas. The performances are as usual complemented by Angela's own booklet notes which provide real insight into how she approaches these masterworks.

Bach's Christmas Oratorio consists of six cantatas, the first of which was first performed at Christmas in 1734 at the town church of Leipzig, the Nikolaikirche, in the morning, with an afternoon performance at the Tomaskirche. The second part was performed on 26th December, in the morning at the Tomaskirche and in the afternoon at the Nikolaikirche, while the third was performed only at the Nikolaikirche on 27th December. The fourth part was performed first on 1st January 1735, the Feast of the Circumcision, at the Tomaskirche and in the afternoon at the Nikolaikirche, while the fifth for the first Sunday of the New Year, 2nd January, was only performed in the morning at the Nikolaikirche. The sixth part was given two performances on 6th January, the Feast of the Epiphany, first at the Tomaskirche and then at the larger Nikolaikirche. Although the work makes considerable use of music originally composed for other purposes, the cycle was clearly conceived as a unified work, to which the elaboration of the first chorale at the end of the sixth part bears witness. The impression is enforced by choice of keys and formal structure, in spite of the original intention of performance of each part on a different day during the twelve days of Christmas. The first three parts deal with Christmas itself, the birth of Christ and the message to the shepherds at Bethlehem. The Evangelist intervenes only once in the fourth part to mention the circumcision and naming of Jesus. In the fifth are the reactions of the Wise Men to Bethlehem, their departure ending the Evangelist's account. The instruments used in the Christmas Oratorio include the ubiquitous four part string orchestra, with a keyboard continuo part for organ, the bass line doubled by cello and bassoon. Transverse flutes, rather than recorders, are used in some movements while the oboes used include pairs of ordinary oboes as well as pairs of the alto and tenor of the family, the oboe d'amore and the oboe da caccia. Brass instruments include three natural trumpets, their melodic parts restricted by their nature to the brilliant upper clarino register. Timpani make their due appearance with the trumpets. Two natural horns, corni da caccia, make a brief appearance in two numbers in the fourth part. There are four vocal soloists, soprano, alto, tenor and bass.

Among forms that Chopin made his own was the Nocturne, at one time synonymous with the Serenade, but with the Irish pianist John Field and Chopin, his successor, a lyrical piano piece offering, nominally at least, a poetic vision of the night. Field wrote eighteen piano pieces with this title between the years 1814 and 1835 and these introduced a new form of piano music that was developed not only in the Nocturne but in other separate movements for piano throughout the century. Two nocturnes were published in 1840 by Eugéne-Thèodore Troupenas, who briefly replaced Schlesinger, whom Chopin now accused of sharp practice in disposing of one of his German copyrights, giving vent, in private correspondence, to his rooted anti-semiotic suspicions. The G minor Nocturne, Opus 37, No. 1, encloses a tranquil chordal E flat major section, and is followed by a G major Nocturne, with a lilting secondary episode. By 1841 disagreement with Schlesinger had been put aside and he published a set of two nocturnes, the first in C minor and the second in F sharp minor, dedicated to Chopin's pupil Laure Duperré. Opus 48, No.1, moves forward to a central C major section of gentler character, increasing in excitement as the opening material returns. The F sharp minor Nocturne that completes the set moves into a relatively sombre D flat major section of some harmonic complexity. Two more nocturnes were published by Schlesinger in 1844, dedicated to Jane Stirling, a middle-aged Scottish pupil of Chopin whose nuptial ambitions outweighed her musical talent. It was through her that Chopin travelled in 1848 to London and to Scotland and to an endless round of tedious social visits that lasted seven months, until he could escape back to Paris again, his health now much worse. In 1844, however, Chopin was still involved with George Sand, although their relationship had it's difficulties as her two children, Maurice and Solange, grew up and used him in their own rivalries and jealousies. The F minor Nocturne, Opus 55, No. 1, allows the opening material to re-appear in more elaborate form in conclusion. It is followed by a second, the Nocturne in E flat, marked by it's use of a second melodic voice, accompanying the first. Chopin wrote his last two nocturnes in 1846 and they were published in the same year by Brandus, who had bought Maurice Schlesinger's business and was later to acquire Troupenas. They were dedicated to another of the composer's piano pupils, Mlle. de Kînneritz. Opus 62, No.1, in B major, is introduced by two chords, the first suggesting another tonality. There is an A flat major central section and an elaborated return of the material of the opening section. The final work, the Nocturne in E major, has a secondary episode with a more energetic accompanying figure. The two nocturnes were written in the autumn of 1846 at Nohant, which Chopin only left in November to return alone to Paris, giving rise to rumors about a quarrel with George Sand, with whom he quarreled definitively the following year, after her daughter's marriage.

Maxim Vengerov now confronts - and conquers - one of the supreme challenges all great violinists must face: The Brahms violin concerto. This beautiful, virtuosic work has defined careers from Heifetz to Perlman. Vengerov's turn has come, and his rich, burnished tone and impassioned phrasing make this one of the standout concerto CDs of the year. The soulful partnership of Vengerov and Barenboim (one of his most important mentors) is also a strong selling point.

Soprano Sumi Jo adds to an already impressive discography for Erato with this exciting set of arias by the great French Romantic composers, including the meltingly sensuous "Depuis le jour" from Charpentier's Louise and the rarely heard "La valse d'Edwige" from Offenbach's Robinson Crusoe. The beautifully selected repertoire, which takes in the masterworks of Thomas, Bizet, Gounod, Meyerbeer and Massenet as well, calls to mind the long reign of the great French coloratura Lily Pons.

Daniel Barenboim continues his acclaimed Mozart concerto cycle with the Berlin Philharmonic, widely acknowledged among the greatest orchestras in the world. Barenboim, conducting from the piano, achieves an effortless collaboration with the orchestra, establishing himself once again as a premier Mozart interpreter. Barenboim's intricate playing and sensitive interpretation misses no detail of these works, and draws a warm and vigorous response from the Berliners.

The unique radiance of traditional English choral singing that made Agnus Dei such a phenomenon is displayed in this set of international Christmas music by Higginbottom & The Choir of New College, Oxford. Mixing familiar tunes with less frequently heard gems, the carol texts take the listener from Annunciation through Epiphany with music from around the world - including the eloquent Poulenc Christmas Motets and Herbert Howell's haunting carol-anthems.

Naxos best of Schumann features the fantastic Piano Quintet in E flat. The Scherzo-Trio is included here on this CD. Also on this CD is the Manfred Overture, selections from two of his Symphonies, solo piano music, and of course part of his famous Piano Concerto in A minor.

American-born soprano Barbara Bonney provides the sparkle in this ebullient account of Mozart's gem of a cantata, Exsultate jubilate (K. 165). Harnoncourt and his charges do a lovely job with the orchestral pages of the setting, originally written to accompany the singing of the castrato Venanzio Rauzzini. Equally well done is the youthful C Minor Missa solemnis (K. 139), which in many ways looks forward to the great C Minor Mass (K. 427) and to the operas of Mozart's mature years in Vienna. -Ted Libbey