Includes Pieces Pittoresque; 5 Pieces pour Piano; Bourree Fantasque; Capriccio; Impromptu; Habanera; Air de Ballet; Suite de Valse; Marches des Cipayes; for Piano 4-Hands, and more. Rena Kyriakou, Walter Klien, piano. "Highly recommendable...."- New York Times.

The French composer Camille Saint-Saëns was prolific and lived a long time, although by the time of his death in 1921 music had changed beyond anything he could have conceived. He was a gifted pianist and, in common with many other well known French composers, found employment and distinction as organist at one of the principal churches in Paris. The popular Carnival of the Animals, described as A Zoological Fantasy, was written in 1886, originally for two pianos and a small chamber orchestra, to celebrate that year's carnival. The composer forbade further performances of this occasional music, except for The Swan, which enjoyed immediate and irresistible popularity.

The Soviet composer Sergey Prokofiev wrote his Peter and the Wolf in 1936 to introduce to children the instruments of the orchestra. He had taken his two sons to see performances at the Moscow Children's Music Theatre and this had suggested to him the possibility of a composition of this kind. The boy Peter, represented by the strings, is playing in the meadow, forbidden territory. A bird, shown by the flute, sings in a tree: a duck, the oboe, swims in the pond, and a cat, the clarinet, comes onto the scene, sending the bird up to a higher branch. Peter's grandfather, the bassoon, warns the boy not to venture out, but meanwhile a wolf, the French horns, comes into the meadow, 
and adventures ensue with spoken narration.

Ten years later, in 1946, the English composer Benjamin Britten was asked to write music for an educational film introducing the instruments of the orchestra. For the purpose he chose a theme by the great 17th century English composer Henry Purcell and wrote a set of variations, each of which shows the characteristics of a particular instrument or group of instruments. The alternative title of the work, Variations and Fugue on a Theme of Purcell, is an exact description. The other title, The Young Person's Guide to the 
Orchestra, makes fun of the titles much favored by writers of moral tales in the 19th century, providing "young persons" with advice on how to regulate every aspect of their lives. At the most exciting part of the concluding fugue, the brass instruments play again the original theme, leading to a grand conclusion. 

Hailed by Fanfare magazine as 'one of the major artists of our time' Ukrainian violinist Solomiya Ivakhiv continues to give voice to her country's rich musical heritage in Music of Resilience. The album explores her homeland's ongoing war and features new works: Victoria Vita Poleva's searing lament, Bucha. Lachrimosa, and two pieces by Bohdan Kryvopust, the powerfully commemorative On the River and the folk-music inspired Ukrainian Suite. Hanna Havrylets' Ex Libris dates from 1993 and employs folk music techniques that draw on ornamentation more than development. Representing an earlier generation, the richly Romantic works by Osyp Zalesky and Roman Prydatkevych are heard here in arrangements by Bohdana Frolyak. As an encore, Ivakhiv plays Yuriy Shevchenko's arrangement of Ukraine's national anthem.

On 18 March 1860, Vienna witnessed a genuine political sensation at the second concert of Euterpe, a young orchestra society. The programme began with several pieces by Ernst II, Duke of Saxe-Coburg and Gotha, which were received with great applause for the composer, who was present. Equally successful was Fantasia symphonica on themes by Ernst II, for which the Kapellmeister of the Theater an der Wien was responsible - none other than Franz von Suppe, who had succeeded in weaving several themes by his blue-blooded "colleague" into a rousing, impressive symphony. Once again, Suppe's classical training had paid off. Although he achieved immortality as the composer of Die schone Galathee and, above all, Boccaccio, he made a significant contribution with a number of serious works (such as the Requiem cpo 777 842-2). The "symphonic fantasy" is paired with Twelve Spanish Dances, a spirited collection of delightful miniatures from which the famous Jota rears it's head time and again

True Concord's newest album, HERE I AM, features two world-premiere recordings of works by Jocelyn Hagen. The Notebooks of Leonardo da Vinci has been performed more than 50 times around the world since 2019, incorporating visuals, sound, light and movement. Here I Am was inspired by conductor Eric Holtan's suggestion that Hagen should write a piece celebrating the women's suffrage movement and the centennial of the 19th Amendment in 2020. This piece is performed with live-concert projections of portraits of 47 inspiring women from across the world and across time, whose words form the libretto. HERE I AM was recorded in outstanding fidelity by engineer John Polito and produced by GRAMMY-award winner Peter Rutenberg of Los Angeles. Recorded May 28-31, 2024.

More than 60 composers have set Metastasio's libretto to music, including Caldara, Vivaldi, Hasse, Leo, Scarlatti, Piccinni, Paisiello, Cherubini and, of course, Pergolesi, who presented his Olimpiade at the Teatro Tordinona in Rome for the Carnival season of 1735. It was to be his last opera seria, as the composer died the very next year, just after he turned twenty-six. His version is considered by many to be the most inspired of all, characterised by a musical originality as ingenious as it is refined, brimming with joyful freshness. Following the rediscovery of the previously unpublished Mass in D major, Giulio Prandi and his Orchestra Ghislieri return to Pergolesi with a recording of his operatic masterpiece made in the 18th-century theatre of Jesi, his hometown: an initiative of the Pergolesi Spontini Foundation, which has been promoting the composer's legacy for many years.

This album brings together major choral works by Hubert Parry and Edward Elgar, reflecting the richness of late nineteenth- and early twentieth-century British music. At it's centre is Parry's de Profundis, a large-scale setting of Psalm 130, widely admired by contemporaries for it's emotional depth, contrapuntal mastery, and expressive journey from penitence to hope. Parry's anthem God Is Our Hope and Strength complements it with a grand, confident vision of choral architecture and spiritual assurance. Elgar is represented by the intimate partsong The Snow and the charming Scenes from the Bavarian Highlands, inspired by Alpine landscapes and folk traditions, capturing a more personal and lyrical side of his art.

To coincide with the centennial celebration of the great Duke Ellington, the Lincoln Center Jazz Orchestra (under the direction of Wynton Marsalis) returns with a new album of all Ellington compositions, featuring performances by Cyrus Chestnut, Dianne Reeves and Illinois Jacquet. This "live" album was recorded as a companion to a PBS documentary on Ellington (to air May '99), and kicks off the Orchestra's world tour and the release of Jump for Joy, a literary homage to Duke Ellington.

Although LPO Principal Guest Conductor Karina Canellakis has appeared on previous LPO Label releases alongside other conductors, this marks the first major release devoted entirely to her work with the London Philharmonic Orchestra. Both symphonies were recorded live in London at the Southbank Centre's Royal Festival Hall. The London Philharmonic Orchestra has a rich legacy of compelling Tchaikovsky interpretations with Vladimir Jurowski and Vasily Petrenko. Karina now stands with this legacy in the seventh Tchaikovsky release on the LPO Label.

Arguably Mingus's greatest recording! Featuring John Handy, Booker Ervin, Jimmy Knepper, Horace Parlan, Dannie Richmond and many others, tracks include "Goodbye Pork Pie Hat," "Better Git It in Your Soul," "Fables of Faubus," "Jelly Roll" and other classics. This 20-bit digitally remastered edition boasts 3 bonus tracks, 6 tracks in unedited form for the 1st time, brilliant new liners, and great, rare session shots!

Franz Krommer served the Habsburg emperors as court composer in Vienna, having succeeded his Czech compatriot, Leopold Kozeluch. He excelled in a vast range of music, notably the string quartet and music for winds, but he also wrote eight published symphonies and a sequence of concertos. In the recordings heard here conductor Marek Štilec uses corrected parts based on archival records. Both the First and Second Symphonies are fulsome and vigorous with graceful trios and bustling energy, revealing an increasingly bold and adventurous language. The attractive Concertino is in effect a divertimento full of shifting moods.

Countertenor John Holiday presents Over My Head, a striking and deeply personal debut that reflects both the breadth of his artistry and the clarity of his artistic voice. Praised as one of the finest countertenors of his generation, Holiday brings together a thoughtfully curated programme spanning spirituals, contemporary works, and art song. From intimate moments at the piano to collaborations with pianist Kevin Miller, the album includes works by Hall Johnson, Robert L. Morris, H. Leslie Adams, world premieres by Theo Morrison and Carlos Simon, and arrangements by Holiday himself, highlighting repertoire shaped by curiosity, individuality, and expressive depth. Rooted in themes of resilience, faith, and love, Over My Head offers a heartfelt musical journey that speaks with both intimacy and conviction. Each work has been selected for it's emotional resonance and it's ability to connect across time and experience, forming a narrative that feels both personal and universal.

With this new recording of Gustav Mahler's Symphony No. 2, Resurrection, the Basel Symphony Orchestra, under the direction of Markus Poschner, presents a powerful artistic statement marking the beginning of a new era. Few works could have been more fitting for Poschner's debut as Chief Conductor in Basel in autumn 2025: Mahler's monumental Second Symphony unites existential depth with visionary sonic grandeur, demanding both emotional commitment and structural clarity. At the heart of Poschner's interpretation lies a deliberately streamlined, transparent, and finely balanced Mahler sound. Rather than overwhelming massiveness, he emphasizes precise articulation, subtle dynamic shading, and a clear projection of the orchestral lines. This approach brings out both the intricate layers of the score and the chamber-like moments that give Mahler's music it's distinctive tension. With this recording, Markus Poschner and the Basel Symphony Orchestra not only document a significant artistic beginning, but also set a strong example of a modern Mahler interpretation that unites emotional intensity with structural transparency.

This recording of the Ninth Symphony marks LPO Conductor Emeritus Vladimir Jurowski's fifth Mahler release on the LPO Label, captured live with the London Philharmonic Orchestra at the Southbank Centre's Royal Festival Hall on December 3, 2022. Jurowski has garnered an international reputation for his interpretation of Mahler's music, both on the podium, and through his distinguished recording legacy with the LPO. Mahler's Ninth was the composer's last symphony to be published during his lifetime. Written in the shadow of personal tragedy and his own heart condition, the work has often been heard as a farewell - to life, to Vienna, and to the world he knew. It's premiere was given in Vienna in June 1912 by Bruno Walter, Mahler's protege. Landmark performances with Walter and the LPO in the 1930s and 1940s helped ingrain Mahler's music into the Orchestra's DNA, a legacy that continues to shape the LPO's sound and spirit today.

This new recording brings together violinist Gil Shaham, conductor Eric Jacobsen, and the Virginia Symphony Orchestra in a program exploring the violin concerto as a vehicle for cultural memory and continuity. The album pairs Samuel Coleridge-Taylor's Violin Concerto in G minor, Op. 80, and Antonin Dvorak's Violin Concerto in A minor, Op. 53, with the world-premiere recording of "F. Harper," from The Famous People by Curtis Stewart. Coleridge-Taylor's concerto reveals a Romantic voice shaped by lyricism and rhythmic vitality, while Dvorak's work reflects folk influence and communal musical expression. Stewart's F. Harper responds through a contemporary lens, engaging questions of naming, lineage, and identity. Inspired by the layered meanings of "Slavonic," the work draws parallels between European histories of enslavement and the ways Black Americans continue to shape pride and cultural legacy today. Together, these works connect past and present through sound.

Both accomplished musicians based in Bayreuth, Anna Bon and Wilhelmine von Bayreuth devoted a significant part of their output to the flute, the instrument of choice of Frederick II. Their sonatas reveal a marked taste for bold harmonies and a remarkable sense of invention. Several decades earlier, Elisabeth Jacquet de La Guerre had already dazzled the court of Louis XIV with her violin sonatas, described by the Sun King as "very beautiful" and above all "original, a quality found all too rarely today." Too rarely performed, these works find in Marta Gawlas, in her first solo album, a sensitive and inspired interpretation, fully equal to their uniqueness and poetic depth.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Here's another spectacular release from RCA Japan's Ormandy/Philadelphia edition, courtesy of Arkivmusic.com's "on demand" program. These are wonderful, truly Romantic performances featuring amazing playing, string sound that's beyond gorgeous, and interpretations that have a lot more subtlety than Ormandy usually gets credit for. The Seventh is particularly impressive, one of the finest versions available, full of tension in the outer movements, capped by a blazing coda that puts many other, better-known recordings to shame. Listen to the woodwinds cut through the full orchestra in the fortissimo counterstatement of the first movement's main theme without significant orchestral retouching; or notice the exciting transition to the scherzo's main section--there are many such distinctive moments here.

The Eighth is just as fine, and even better recorded, with more presence from the timpani and a bit more air around the instruments. In the first movement it's amazing to hear string playing with such incisive rhythm, particularly at the climaxes, and it's instructive to note how much passion this generates at a basically moderate tempo. The Adagio's exchanges between winds and strings couldn't be better timed; the third-movement waltz is, as you might imagine, the last word in sophisticated phrasing; and the scherzo-variations in the finale is a riot, with bright horn trills and, in the coda, a really vulgar (and totally apt) trumpet smear to cap the festivities. Ormandy also takes the violins up an octave just before the end, between those slashing final chords, arguably a more effective option than the Czech tradition of doubling them with horns. Hearing these performances again is like getting reacquainted with a best friend that you never should have lost touch with over the years.

--David Hurwitz, ClassicsToday.com