This album takes us on a journey through several different eras of Romanticism, from its origins to its twilight, from Schumann to Poulenc by way of Brahms and Berg. It is also the story of a long friendship and artistic collaboration …

A declared enemy of anything that smacks of routine, the clarinettist Michel Portal looks after his unpredictability the way an astronaut looks after his oxygen supply. His almost organic curiosity, his need for exchange, reacts here to an exciting encounter with the pianist Michel Dalberto.

The clarinet sonatas by Brahms and Poulenc, Schumann’s Phantasiestücke and Berg’s Four Pieces are all seen in a new perspective at La Dolce Volta. Every Michel Portal recording is a passport to wisdom, a term that for him goes hand in hand with speed, joy and exultation. Eternal youth!

Domenico Giuseppe Scarlatti (1685-1757) devoted himself to a single form like no other composer before him. The more than 550 mostly single-movement sonatas for the harpsichord influenced numerous composers throughout the ages, from his contemporary Johann Sebastian Bach and Frederic Chopin to 21st-century artists such as Georg Katzer. The four selected sonatas K 27, K 213, K 247 and K 268 represent only a small selection of his immensely varied oeuvre and yet they illuminate all the different aspects of his extraordinarily creative composing. Scarlatti himself modestly described many of his sonatas as "Essercizi per gravicembalo". His sonata works contain every conceivable technical challenge, as he himself was one of the most sought-after and virtuoso harpsichordists of his time. Georg Katzer (1935-2019) composed the Five Miniatures in 1971. They are primarily to be understood as gestural music. Although the playing technique is traditional with a few exceptions (the use of the elbows or rolling hands), the miniatures reveal a wealth of ideas in musical forms of expression that evoke the most diverse sensations in a short space of time and space. The work Due to my admiration for D.S. was composed by Georg Katzer in 2001. The close relationship between Fanny Hensel (1805-1847) and her brother Felix Mendelssohn encouraged both siblings throughout their musical careers. And yet, throughout her life, Fanny Hensel fought for even remotely similar recognition of her extraordinary talent as a pianist, conductor and composer. The Four Songs for Pianoforte, Opus 2, are among the few works published by Bote & Bock in 1846 during Fanny Hensel's lifetime.

Anton Bruckner 200 (1824-2024)

Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years.

This recording of Bruckner's "Te Deum" and his Eighth Symphony (version by Robert Haas, 1939) documents concerts performed in the Philharmonie im Gasteig in November 2010, and in the Herkulessaal of the Munich Residenz in December 1993.

Bridge Records is pleased to present this previously unissued performance by the Stuyvesant Quartet. The recording is the only known "in concert" recording by this stellar quartet of players associated with Toscanini's legendary NBC Symphony Orchestra, and was made at the Library of Congress's Coolidge Auditorium in 1946. This release is part of Bridge's ongoing series devoted to the Stuyvesant Quartet's historic recordings.

REVIEW:

It is fitting that Prokofiev’s First Quartet is performed here, as this work was first performed at the LoC itself. The inclusion of Dohnányi’s Second Quartet is certainly cause for celebration. Their Dvořák cuts deep emotionally. This disc of historic performances is a little miracle and recommended without hesitation.

— Fanfare

Schuberts Divertissement sur des motifs originaux francais D 823 und Moscheles' Sonate in h-Moll fur Klavier vierhandig - sind anspruchsvolle vierhandige Klavierkompositionen, die virtuose Elemente mit melodischem Reichtum verbinden. Zudem zeigen sie eine Affinitat zur franzosischen Musiktradition.

This CD recording with flutist Anne Pustlauk is an experiment: For about 15 years, she has been researching flute performance practices in the early and late 19th centuries, which differ greatly from our performance practices today. It is not only the historical instruments that make the difference; the playing style of that time is also extremely rare today. Together with L'arpa festante under Korneel Bernolet, Anne Pustlauk searches for new forms of expression without copying a specific playing style of that time. The artists demonstrate this impressively with the famous Flute Concerto, Op. 283, by Carl Reinicke and Peter Benoit's Symphonic Poem, Op. 43A, from 1865. The program also includes Ferdinand Langer's Flute Concerto in G minor, which he composed for his friend and colleague at the Mannheim Court Theater, Franz Neuhofer (a student of the famous flute maker Theobald Boehm), who held the position of principal flutist in the orchestra there.

Petter Udland Johansen has been known for years as an exceptional interpreter of early music. With his distinctive voice and keen sense of style and text interpretation, he has made a name for himself as a specialist in repertoire from the Middle Ages to the 18th century. Now he is opening a new chapter: on his album Where Is Love, the versatile singer turns his attention for the first time to the great songs of the American Songbook timeless classics by George Gershwin, Cole Porter, Jerome Kern, Richard Rodgers and other masters. Johansen is joined by Christian Gutfleisch, his ideal musical partner at the piano. Gutfleisch performs on a Bluthner grand piano from 1910, whose warm, velvety tone forms a poetic bridge between past and present. The instrument seems to carry within it the sound world of the very era in which many of these songs were written - while offering an abundance of color and intimacy that perfectly suits the duo's chamber-like approach.

Frühling is also a project that decisively sheds light on the figure of Andrés Isasi (1890-1940), one of the most singular and underrepresented composers of early 20th-century Spain. At the heart of the album, Goikoetxea and Fernández Aguirre offer the world-premiere recording of the complete Lieder-Album op. 16, a cycle composed in Berlin in 1913 and virtually unknown until today. These fourteen songs reveal a cosmopolitan Isasi at a moment of full creative maturity, shaped by his Central European training with Engelbert Humperdinck and attuned to the late-Romantic and Jugendstil currents of his time. The cycle blends intimate lyricism, legendary evocations, decadent impulses, and a refined harmonic language of striking modernity. Works such as Ali Bey, Frühling, Die ungetreue Luise, or Vergiftet sind meine Lieder display a uniquely personal voice that bridges the German Lied tradition with Basque imagery and an advanced European sensibility that was unusual for it's time. Goikoetxea and Fernández Aguirre stand out for their elegance, their textual insight, and their ability to convey the emotional universe-at times naïve, at times shadowed, always intensely poetic-of a composer whose vocal output was long overdue for a first-rate artistic rediscovery. The programme is framed within a broader exploration of Heinrich Heine's profound impact on European music. The album is completed with lieder by Liszt, Grieg, Ives, Rubinstein, Boulanger, Backer-Grøndahl, MacDowell, Sgambatti, and Castelnuovo-Tedesco, composers who, like Isasi, were captivated by the emotional depth and symbolic power of the German poet.

Encounter brings together two towering works of contemporary chamber music that speak across cultures, histories, and inner worlds. Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind and Peteris Vasks' String Quartet No. 6 arise from profoundly different traditions-Jewish mysticism and Baltic spirituality-yet meet in a shared search for truth, memory, and transcendence. Both works are intensely personal, rooted in lived experience and belief, and animated by music's power to give voice to what lies beyond words: longing, suffering, hope, and illumination. In this recording, these worlds do not merely coexist; they listen to, reflect, and transform one another. Performed by the Arethusa Quartet with clarinetist Chen Halevi, Encounter is also a meeting of artistic journeys. Golijov's ecstatic, ritual-like score unfolds as a spiritual ascent through dreams, prayers, and blindness-understood as deeper inner vision-while Vasks' Sixth Quartet traces a life's arc from farewell and remembrance to a final, hushed encounter with transcendence, illuminated by echoes of Beethoven. Across both works, vulnerability and intensity are balanced by stillness and song, darkness by light. What emerges is an album that feels at once intimate and universal: an affirmation of shared humanity, and a reminder of music's enduring ability to connect past and present, earth and spirit, performer and listener. = Curiosa is conceived as a personal "cabinet of curiosities" by violinist Jorge Jiménez, bringing together music that entered his life through years of travel, collaboration, and discovery. The album spans laments, dances, preludes, fugues, and songs from both renowned and anonymous sources, ranging from the Middle Ages to the Baroque and beyond. Each piece is selected for it's emotional depth, strangeness, and expressive power, forming a living repertoire shaped in rehearsals, late-night conversations, concerts, and recording sessions. Central to the project is Jiménez's fascination with unaccompanied music and historical instruments, particularly the baroque violin and vielle, whose raw and earthy sound transports the listener into earlier sound worlds. Throughout Curiosa, Jiménez weaves together personal heritage, musical memory, and imaginative storytelling. His own arrangements connect Bach, Dowland, Strozzi, Gaspar Sanz, and traditional tunes with vivid images. Joined by Joy Smith on early harps and Daniel Garay on historical percussion, and performing with his ensemble Tercia Realidad, Jiménez blends historical insight with spontaneity and improvisation. The result is an album that feels both intimate and expansive-music passed "between hands, ears, and hearts," constantly transforming while remaining deeply rooted in shared curiosity and human connection. Jorge Jiménez: "These pieces entered my life through the extraordinary musicians and ensembles I've been fortunate to work with across Europe. They form a living repertoire shaped in rehearsal rooms, late-night conversations, recording sessions, and concerts." = During the darkest of the lockdowns, I took my daughter to an open field near our home. In a time when the world felt shuttered and small, walking was our only escape from the suffocating stillness. As we reached the field, a sudden sensation washed over me-a quiet awakening. It wasn't just the spring breeze or the scent of the grass; it was a sudden reminder of what being alive meant. I felt I had been touched by Zephyr, the Greek god of the west wind, sparking a renewed wish to create and perform for the world once more. Liberte´: A piece exploring and searching for emotional freedom. Zephyr: Named after the gentle west wind, this track served as the primary source of inspiration for the entire album. Fushigi no Kuni: Translating to "Wonderland" in Japanese, this piece was inspired by Alice's Adventures in Wonderland written by Lewis Carroll. A Troubadour in the Moonlight: A composition and improvisation depicting a minstrel serenading a loved one beneath the moon. For Misato: A heartfelt dedication to Misato-san, my dear friend who departed too young. The five songs above are composed by Yukari. Eurus, Suibokuga, Pandora's Box, Don't Follow the Piper, and Au crépuscule are collective improvisations. = "We can imagine some eyebrows being raised at the description of Dora Pejacevic as a contemporary of Brahms; the two composers were born more than fifty years apart, and their lives only overlapped by twelve years. Yet both works by Pejacevic are unmistakably from the same compositional lineage as that by Brahms; and both are works written early on in Pejacevic's remarkable (and, sadly, all-too-short) life. Both pieces belong clearly to the romantic tradition, displaying no hint of the more modernist directions which her later works would take. We were immediately intoxicated by the passionate sweep of Pejacevic's Piano Quartet, but also the tenderness of it's slow movement, and felt it would make the perfect bedfellow for the First Piano Quartet of Brahms, a piece to which Tom has felt particularly close since student days. Brahms's Piano Quartet is justly one of the best-loved of all chamber works, and few works are more exhilarating to perform: the first movement offers an abundance of glorious themes; the second takes us to a mysterious dreamworld; the third luxuriates in expansive lyricism; then the fiery virtuosity of the gypsy finale sends us headlong to the finish line. This album brings us to the end of our recorded journey through Brahms's three piano quartets, and it has been the greatest privilege and joy to record these works, alongside three major piano quartets by composers who deserve to be far better known. However, we are pleased to say that the series does not end here: looking beyond the piano quartets, we have further albums in preparation, pairing Brahms with his brilliant and lesser-played contemporaries." -Kaleidoscope Chamber Collective

Selim Palmgren was one of the most celebrated pianist-composers in the years before the end of the First World War. His vast catalogue of piano music, much of it unknown, is showcased in this acclaimed series performed by Jouni Somero, the Finnish composer's greatest modern exponent. This volume features the virtuosic and demanding Fantasie, Op. 6, one of Palmgren's most compelling works, as well as examples of music irradiated by Impressionism and Nordic folklore. Miniatures including études, waltzes, and pieces that exude Chopinesque charm are also featured.

Spanish pianists Juan Lago and Belén Navarro present in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music. Thanks to the piano-a truly universal instrument-Debussy, Ravel, Chabrier, and Rimsky-Korsakov not only developed their early compositional voices, but also found a vehicle through which their orchestral masterpieces could be adapted and performed beyond the concert hall. Through their own arrangements or those by trusted collaborators, these works have reached intimate settings and private homes around the world. The keyboard's orchestral richness-especially in four-hand performance-and it's ability to imitate or evoke the timbral variety of an orchestra allow the Lago-Navarro Duo to showcase their artistry and technical command in a beloved and familiar repertoire, deeply ingrained in the collective musical memory of the Spanish people. In this album, Ibéria, Rapsodie espagnole, España, and Capriccio espagnol are brought together in a fresh concert format, allowing the musical echoes of Spain to resound with renewed brilliance. Belén Navarro & Juan Lago Piano Duo The well-established Lago-Navarro piano duo-formed in 1997 by Spanish pianists Juan Lago and Belén Navarro-presents in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music.

For his tenth solo recording for Alpha Classics and Outhere Music, Nelson Goerner returns to a composer he particularly cherishes: Schumann, here with the Davidsbündler, his imaginary music society created to combat the Philistines, musicians considered decorative and traditionalist (such as Rossini, Bellini, and Donizetti). Robert began the Davidsbündlertänze a few days after 14 August 1837, the date of his engagement to Clara. Between idyllic dreams and impassioned protests, Goerner is able to develop his full sense of narrative... In addition, he puts his sensitivity to work on Handel's 21 variations on the Chaconne in G major, published in 1735 under the title 'Suite No. 2'. Viennese sweetness and virtuoso intoxication conclude this recital with the Arabesques on 'The Blue Danube' by Johann Strauss Jr., written by the Polish composer Adolf Schulz-Evler (1852/4-1905).

Since relaunching Sinfonia of London in 2018, John Wilson's hand-picked orchestra has attracted the highest critical acclaim from both national and international press, performed at the BBC Proms every year since 2021 (their live début), and made their international début at the Concertgebouw, Amsterdam in 2025. Regularly touring in the UK, they have also released 25 albums (this is the 26th), covering a wide range of repertoire, including works by Korngold, Respighi, Ravel, Strauss, Rachmaninoff, Britten, Walton, Bliss, and Rodgers & Hammerstein. The album opens with Dukas' The Sorcerer's Apprentice, followed by Debussy's Clair de lune (orchestrated by John Wilson). Chabrier's Joyeuse Marche and Ravel's Une Barque sur l'océan (orchestrated by their composers) are followed by Saint-Saëns' symphonic poem Danse macabre. The programme ends with all of the movements from Bizet's two Carmen Suites, but in John Wilson's preferred order!

This program, dedicated to the melodies of Ernest Chausson (1855-1899), celebrates the music of this worthy representative of the French mélodie style. Cyril ACHARD (guitar and adaptations) and Kevin Norwood (vocals), two musicians with diverse influences (jazz, classical, early music, etc.), share a predilection for musical expression in it's purest and most unadorned form. Their passion for the beautiful melodies and harmonic soaring characteristic of this bygone musical movement led them to pay tribute to the most enigmatic and misunderstood of all "melodists." As jazz musicians who practice improvisation and readily engage in reinterpretation, they find this program an ideal playground. The unique character of this duo is based on a work of adaptation, even "reinvention" in places, interspersed with improvised sections, allowing the listener to oscillate between two musical universes. Nostalgie du Ciel offers a unique take on the composer's melodies through this original arrangement for guitar and vocals. The album, recorded in an Alpine church, strives to recreate the natural acoustics of the setting, allowing the listener to perceive the sound as it was generated at the source.

Shostakovich's Sixth and Ninth Symphonies stand as sharply contrasting yet deeply connected reflections of a century scarred by violence, fear, and forced optimism. The Sixth Symphony, composed in 1939 at the height of Stalin's Great Terror, opens with a vast, searing Largo that unfolds like a requiem for a silenced society-mourning lost friends, broken lives, and collective suffering. It's bleak introspection is followed by movements of icy detachment and grotesque parody, where frantic energy and empty cheer mask a profound spiritual void. Through this unsettling trajectory, Shostakovich speaks with "secret freedom," revealing a truth that words could not safely express: a tragic meditation on human dignity under oppression. Written in 1945, the Ninth Symphony defies expectations of monumental victory music. Instead of triumphal bombast, Shostakovich offers a compact, ironic, and life-affirming work, brimming with wit, clarity, and subtle defiance. Beneath it's Haydnesque lightness and carnival spirit linger shadows of war, grief, and memory-solemn brass rituals, elegiac melodies, and moments of fragile reflection. In this recording, the Janácek Philharmonic Orchestra and Daniel Raiskin illuminate the symphonies' dual nature: tragedy entwined with irony, joy haunted by loss. Together, these works form a powerful portrait of resilience, humanity, and artistic truth in the face of history's darkest pressures.

Shura Cherkassky was introduced to Nimbus by Wilfred Stiff, then a director of the London agent Ibbs & Tillett. Wilfred recognised a young label pushing ahead fast at the transition point between LP and CD, one with a fondness for artists whose careers were waning. Accordingly, he dispatched one of his most prestigious names to the Nimbus Studio. Cherkassky was at that time acknowledged as one of the 'great' generation whose undoubted king was Horowitz, but after a long, notable career that began in his mid-teens, his popularity in the concert hall and recording studio had fallen. Shura's late career was in need of a final boost. Cherkassky's first visit lasted four days - 31 January to 3 February 1981; the results of that session were released on LP, but never on CD. They are once again available in Volume 1 of this series (NI 7112). For this second session, once again he stayed in the big house, having taken one look at Monmouth's finest hotel - The King's Head - and declared, 'Oh no, I won't be happy here!'. The studio and piano, a 1969 Hamburg Steinway, were set up as before. It was a studio so completely unlike the characterless spaces he had famously grown to decry. Here there was no sterile barrier to his inspiration. The grand Victorian reception room at Wyastone Leys served as a spectacular performance space, it's full-height windows framing commanding views down the Wye Valley. Shura loved it, signing a copy of his Pictures at an Exhibition LP, 'To everyone in Nimbus with love and the most wonderful feeling of inspiration'.

IBS Classical presents a distinguished new release featuring violinist Valerie Steenken and pianist Ricardo Alí Álvarez, performing three major violin sonatas by Richard Strauss, Ottorino Respighi, and Manuel M. Ponce. Conceived as a journey across German, Italian, and Mexican traditions, the programme bridges late-Romantic lyricism and early-twentieth-century modern expressivity. Strauss's youthful Sonata in E-flat major, Op. 18, combines soaring melodic invention with symphonic breadth, while Respighi's Sonata in B minor unfolds as a grand, rhetorically charged architecture culminating in a majestic Passacaglia. Ponce's Sonata breve, written in Paris in 1930, distills neoclassical elegance and Mexican lyricism into a concise yet refined statement of style. In this recording, Valerie Steenken (Concertmaster of Spanish National Orchestra) and Ricardo Alí Álvarez (Professor at Reina Sofía School) offer performances of exceptional unity and insight. Steenken's luminous tone, phrasing of great naturalness, and expressive precision find in Álvarez's pianism an ideal counterpart-sensitive, detailed, and dynamically sculpted. Their dialogue reveals a profound understanding of structure and sound, bringing each work's emotional core vividly to life. Through this project, IBS Classical reaffirms it's dedication to artistic excellence and to the renewal of essential chamber repertoire for violin and piano, presented here in a performance of rare coherence and expressive depth.

The Heart of the Cello (compilation - 30th Anniversary of death: October - Jacqueline du Pre - "She clearly was born to play the cello," wrote the New York Times of Jacqueline Du Pre in 1967. Just five years later her career was cut tragically short by illness. Du Pre's recordings provide a treasurable memento of the "perfect balance of youth and maturity" that her teacher, William Pleeth, found in her music-making: "She approached each new experience with spontaneous pleasure and enthusiasm." Offering a vivid experience of her life-enhancing art, this 2-CD set of concertos, sonatas and chamber works features recordings remastered in 24-BIT / 96kHz at London's famous Abbey Road Studios.

Acclaimed pianist Beatrice Rana presents her latest album, a radiant tribute to J.S. Bach's Keyboard Concertos. Featuring BWV 1052, 1053, 1054, and 1056, this recording captures the intimate chemistry of Rana with the Amsterdam Sinfonietta, with Candida Thompson as concertmaster. Recorded in April 2022, following a 10-concert tour together, the album reflects the depth and brilliance born of their shared musical journey. Bach's timeless elegance and energy are reimagined through Rana's expressive artistry and the ensemble's dynamic interpretation.

April 25, 2025: Carnegie Hall has been sold out for months in anticipation of Yunchan Lim's return to perform Bach's Goldberg Variations. The whole world watched as a moment of musical history was made. 70 years earlier - and just a few blocks from Carnegie Hall - a 22-year-old Canadian called Glenn Gould made a recording of the Goldbergs which was also destined for legendary status. Decca Classics is now proud to present the next chapter in the history of this timeless music and an extraordinary young artist. 2 LP set.

It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. Daniel Barenboim. Over the past 60 years Itzhak Perlman has become established as one of the great violinists of history - a player on a level with such legendary figures as Fritz Kreisler, Jascha Heifetz and David Oistrakh. Providing a treasurable memento of his art, this is a newly assembled 5LP collection of masterworks for violin and orchestra in what have become legendary recordings. They bear witness to his collaborations with the world's greatest orchestras, and feature an array of superlative fellow soloists and conductors: Carlo Maria Giulini, Daniel Barenboim, Yo-Yo Ma and Eugene Ormandy.

Itzhak Perlman, born in 1945, is the supreme violinist of his time. Over the past 60 years he has become established as one of the great violinists of history - a player on a level with such legendary figures as Fritz Kreisler, Jascha Heifetz and David Oistrakh, and an influential musician admired around the world by a broad and varied public and by students of his instrument. Presenting his art in all it's warmth, generosity and brilliance, this comprehensive 78-CD edition features all the recordings Perlman made for EMI Classics, Teldec, Erato and Warner Classics over a period of more than 40 years. The recordings document his collaborations with the world's greatest orchestras and feature an array of superlative fellow soloists and conductors, including Martha Argerich, Vladimir Ashkenazy, Daniel Barenboim, Carlo Maria Giulini, Bernard Haitink, Lynn Harrell, Yo-Yo Ma, Zubin Mehta, Seiji Ozawa, Andre Previn and Pinchas Zukerman.

Perlman already had a recording of the Brahms Double Concerto to his name - on that occasion sharing the bill with Mstislav Rostropovich, conducted by Bernard Haitink (1979). He creates an equally sumptuous dialogue here with Yo-Yo Ma. The two performers match one another for brio and lyricism, their playing informed by the same sense of joyfulness, as their enthusiasm and generosity of spirit combine. Indeed, the coherence of sound, vibrato and intonation of these two soloists, each at the peak of his powers, reveals a fellowship both instrumental and spiritual. The vigour of the attacks and power of the phrasings, sustained by dazzling playing from the orchestra, add a rarely achieved Romantic dimension to this performance, transforming it into a veritable feast for the ears.

Alice Sara Ott - "Johann Johannsson: Piano Works" Johann Johannsson: Piano Works, recorded by pianist Alice Sara Ott, is a selection of the late Icelandic composer's most famous works - reimagined for solo piano. These premiere recordings of the piano scores published recently by Faber Music are hauntingly beautiful interpretations, capturing the essence of Johann Johannsson's music. The album includes some of his most iconic works from films such as The Theory of Everything, Personal Effects, and Copenhagen Dreams, as well as from his studio albums including Orphee and Englaborn. CD Mintpack.

This new album continues to build the brand Piano Book, following the unprecedented success of the original released in 2019. A collection of the most popular short pieces for piano known, taught and played by players and piano lovers of all ages everywhere. Including iconic classical pieces, works by contemporary composers including soundtracks, gaming and anime, as well as unique arrangements. The album reflects Lang Lang's love of the piano, the joy of music making and his wish to inspire others, which he does through activities including Lang Lang Foundation. 2 LP set features 27 tracks. Packaged in gatefold jacket with printed insert.

Acclaimed pianist Beatrice Rana presents her latest album, a radiant tribute to J.S. Bach's Keyboard Concertos. Featuring BWV 1052, 1053, 1054, and 1056, this recording captures the intimate chemistry of Rana with the Amsterdam Sinfonietta, with Candida Thompson as concertmaster. Recorded in April 2022, following a 10-concert tour together, the album reflects the depth and brilliance born of their shared musical journey. Bach's timeless elegance and energy are reimagined through Rana's expressive artistry and the ensemble's dynamic interpretation.

Recorded with Daniel Harding as conductor and the Orchestre de la Suisse Romande. Much of the violin writing in the Sibelius concerto is purely virtuosic, but even the showiest passages alternate with the melodic. This concerto is generally symphonic in scope, departing completely from the often lighter, 'rhythmic' accompaniments of many other concertos. Renaud: "I discovered the concerto by Samuel Barber on a recording made by Isaac Stern, which is very moving for me because Stern played it on the violin that is now mine. I heard it again in Gil Shaham's interpretation. The first two movements are very lilting, very melodic and generate a lot of images. The finale is very virtuoso."

Lang Lang - "Piano Book 2". This new album continues to build the brand Piano Book, following the unprecedented success of the original released in 2019. A collection of the most popular short pieces for piano known, taught and played by players and piano lovers of all ages everywhere. Including iconic classical pieces, works by contemporary composers including soundtracks, gaming and anime, as well as unique arrangements. The album reflects Lang Lang's love of the piano, the joy of music making and his wish to inspire others, which he does through activities including Lang Lang Foundation. SCORE EDITION 2 CD set with digital download featuring sheet music of every piece on the album, plus bonus tutorials with Lang Lang. 2 CD Score Edition.

Double vinyl LP pressing. Emerging triumphant in consistent and spectacular fashion, Itzhak Perlman - always a perceptive musician - also tells a captivating story with every piece. Ever since they were first published in Milan in 1820, the 24 Caprices of Niccolo Paganini have been regarded as the ultimate challenge for any virtuoso violinist. They are provocatively dedicated Agli artisti ('To the artists'), but few of Paganini's contemporaries were able to tackle the multiple technical demands inherent in the most astounding solo violin works yet written. In the 20th century, even allowing for the development of instrumental technique, the advent of modern recording technology and it's editing facilities, few performers in our own age have been brave enough to commit all 24 of the Caprices to disc. The legendary Jascha Heifetz recorded only three, Yehudi Menuhin only six. The Italian maestro Ruggiero Ricci, a life-long advocate of Paganini's music, was the first to set down all 24 on record. But it was Israeli-born Perlman in 1972, then aged 26, who was to make the definitive recording. Almost half a century later, Perlman's recording remains the benchmark by which all others are measured.