Commemorating the 270th anniversary of Mozart's birth in 2026, the "MOZART COLORS 100" collection by Deutsche Grammophon and Decca is a masterful fusion of high-fidelity audio and innovative visual curation. By organizing 94 essential recordings and six genre-specific masterpieces into a spectrum of 12 thematic colors, the series transforms the act of listening into a mood-based experience, allowing the "jacket color" to guide the listener through Mozart's immense versatility-from his precocious childhood works to his universally beloved classics. The technical presentation is equally impressive, featuring the SHM-CD format for superior sound resolution housed in elegant, color-coordinated cardboard sleeves that appeal to tactile collectors. With insightful new commentary by Mai Takano and approachable branding by Toshiyuki Hirata, this 100-title series successfully modernizes a historical legacy, making the 2026 anniversary both a luxury for audiophiles and a welcoming entry point for new fans of the "Wunderkind."

Commemorating the 270th anniversary of Mozart's birth in 2026, the "MOZART COLORS 100" collection by Deutsche Grammophon and Decca is a masterful fusion of high-fidelity audio and innovative visual curation. By organizing 94 essential recordings and six genre-specific masterpieces into a spectrum of 12 thematic colors, the series transforms the act of listening into a mood-based experience, allowing the "jacket color" to guide the listener through Mozart's immense versatility-from his precocious childhood works to his universally beloved classics. The technical presentation is equally impressive, featuring the SHM-CD format for superior sound resolution housed in elegant, color-coordinated cardboard sleeves that appeal to tactile collectors. With insightful new commentary by Mai Takano and approachable branding by Toshiyuki Hirata, this 100-title series successfully modernizes a historical legacy, making the 2026 anniversary both a luxury for audiophiles and a welcoming entry point for new fans of the "Wunderkind."

New HD 192kHz/24-bit remastering from original tapes. 'Muti's Tchaikovsky cycle with the Philharmonia is one of the most consistent ever, with the conductor's high voltage tempered by expressive warmth and keen fantasy... This Muti box earns the warmest recommendation,' wrote Gramophone of the complete symphonies when they first appeared. Complementing them here are further works by Tchaikovsky, including the 'Manfred' Symphony and First Piano Concerto with Andrei Gavrilov as a breathtaking soloist.

PIANO CONCERTO #3: THE ROMANTIC

Paying homage to Leipzig and the Gewandhausorchester, the city and ensemble at the core of Felix Mendelssohn's artistic identity, Andris Nelsons presents a compilation of the composer's Oratorios and Symphonies. Deutsche Grammophon proudly notes that this release marks the first full-length rendition of "Paulus," a remarkably formative score that had so far been absent from the Yellow Label's expansive catalog. Nelsons is joined by a stellar cast of soloists for the vocal works, and bolstered by the incredible musicians of the Gewandhausorchester, for whom he serves as Music Director, for fresh interpretations of the Symphonies. 7-CD box set in Capbox packaging.

Elsa Barraine, a notable and politically intrepid figure in her lifetime (1910-1999), is a composer whose distinctive voice is being heard again. Under it's music director Cristian Macelaru, the Orchestre national de France performs four works by Barraine: the Symphony No 1, completed in Italy in 1931; the compact, but powerful Symphony No 2, composed in 1938 and ominously subtitled 'Vo�na', the French transliteration of the Russian word for 'war'; Song-Ko� (Le Fleuve rouge) - an eight-movement evocation of the Red River which flows through Vietnam, composed in 1945, the year Vietnam declared it's independence from France, and, dating from 1959, Les Tziganes, which, as it's name implies, takes inspiration from gypsy culture. Rooted in tonality, Barraine's music is confidently and soberly crafted, it's orchestral palette both clearly defined and subtly shaded as it reflects it's times and the composer's philosophical and spiritual concerns.

When Jascha Heifetz stepped into the studio with Charles Munch and the Boston Symphony Orchestra, the result was nothing less than legendary. Beethoven's Violin Concerto, a work of noble lyricism and timeless beauty, found in Heifetz a soloist of supreme technical command and aristocratic poise. His playing radiates both precision and passion, every phrase polished to brilliance yet never losing it's expressive depth. Charles Munch, the great French maestro, was a natural partner-bringing clarity, warmth, and a rhythmic lift that perfectly complements Heifetz's elegance. The Boston Symphony, in it's Living Stereo prime, provides a luminous orchestral backdrop, captured with the spacious, natural sound that made RCA recordings of the era so prized. What makes this album especially notable is the sheer electricity of the collaboration: the world's most celebrated violinist at the height of his powers, paired with a conductor and orchestra who elevate the music to exhilarating heights. For classical music fans, it offers both an ideal introduction to Beethoven's concerto and a reference performance that seasoned collectors return to again and again. Mastered by Bernie Grundman from the original 2-track master tape, cut at 45 RPM and plated and pressed at Quality Record Pressings - makers of the world's finest-sounding vinyl LPs, - no other editions match these for the quietest 180-gram platters available. Each reissue in the RCA Living Stereo 45 RPM Series also includes a special 2-panel insert. RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound! Part of the Analogue Productions RCA Living Stereo 45 RPM Series! Remastered from the original master tape and cut at 45 RPM by Bernie Grundman Includes 2-panel insert 180-gram vinyl 45 RPM double LP pressed at Quality Record Pressings Tracklist: LP 1 Side A 1. First Movement: Allegro, ma non troppo LP 1 Side B 1. Cadenza: Auer-Heifetz LP 2 Side A 1. Second Movement: Larghetto LP 2 Side B 1. Third Movement: Rondo

The special edition collects Alfred Brendel's recordings of Mozart's Piano Concertos Nos. 5-27 with Sir Neville Marriner and the Academy of St. Martin in the Fields on 10 CDs. The recordings span 1971 to 1984. It is clear from his performances that he deeply appreciates the composer and the works, devoting his full artistic attention to each concerto. Marriner and the ASMF are the perfect accompanists, the renowned chamber orchestra captivating with it's clear and refined sound. It is therefore a pure joy for the listener to experience the outstanding interplay between pianist and conductor in each concerto. "Brendel's articulation and his use of the pedal deserve the highest praise. His playing has depth, confidence, and absolute precision." - GRAMOPHONE

WALTON: SYMPHONIES NOS. 1 & 2; ORB AND SCEPTRE

Annika Treutler & Aris Quartett - Sibelius: Piano Quintet & Miniatures / A true discovery: Annika Treutler and the Aris Quartett turn to Jean Sibelius's early Piano Quintet in G minor - a rarely performed gem seldom heard in the concert hall. Powerful, bold, and rich in expressive intensity, the work reveals a surprising side of the Finnish composer beyond his celebrated symphonies. Complemented by selected piano miniatures, the album unfolds a multifaceted portrait ranging from Nordic clarity to lyrical intimacy. This recording invites listeners to rediscover Sibelius - beyond the familiar repertoire and with a fresh perspective on his early chamber music.

ELEGIE: CHAUSSON BABAJANYAN RACHMANINOFF

Double vinyl LP pressing. A hand-picked collection of Ludovico's best-loved solo piano works spanning his 30-year career, released together for the first time on this 2-LP set. Features the brand-new track, "Memory One."

Critically acclaimed American producer Tomu DJ (Pitchfork, Dazed, NPR++) debuts on sound as language with her fourth album, 'antagonist.' Recorded in the artist's Oakland, California home throughout 2025 using only a digital piano, her intention for the album was to "free myself from conventional notions of electronic music". This is perhaps seen clearly on standout tracks "loose interpretation" and "careful deliberation", which in their cinematic splendor evoke the beauty and thoughtfulness of classical music. Even so, 'antagonist' is "not intended to be like classical music, rather a stream of consciousness akin to spoken word poetry". It is easy to see what she means on tracks like "antagonist" and "dance" which weave familiar elements into personal narratives of loneliness, perseverance and redemption. Despite it's specific sonic palette, 'antagonist' fits right in with Tomu DJ's discography, continuing to build on the musical ecosystem she has thoughtfully tended to over the course of the last decade.

PETER MAXWELL DAVIES: STRATHCLYDE CONCERTO NO. 4

Gondwana Records is pleased to announce 'Interlude', the second album from Estonian-born, London-based composer and pianist Hanakiv. Showcasing an expanded sound, the compositions trace a journey of overcoming the past, unfolding into a seductively unconventional style imbued with hope and a therapeutic quality.

Gondwana Records is pleased to announce 'Interlude', the second album from Estonian-born, London-based composer and pianist Hanakiv. Showcasing an expanded sound, the compositions trace a journey of overcoming the past, unfolding into a seductively unconventional style imbued with hope and a therapeutic quality.

This red-colored vinyl LP features Shostakovich's vibrant Piano Concertos Nos. 1 & 2, performed by soloists Peter Jablonski and Cristina Ortiz alongside the Royal Philharmonic Orchestra. Conducted by Vladimir Ashkenazy, this Decca Classics release captures the composer's unique blend of witty energy and soaring lyricism in a premium high-fidelity format.

Few concerts in the world are awaited with as much excitement as the New Year's Concert from Vienna. Under the direction of Riccardo Muti, the Vienna Philharmonic ushers in the New Year with a concert in the magnificent Golden Hall of the Vienna Musikverein. Marking his seventh time conducting this prestigious event, Riccardo Muti leads the orchestra in a program that celebrates the 200th birthday of Johann Strauss II, exploring new perspectives on the musical world of the Strauss family. Riccardo Muti has played an exceptional role in the history of the Vienna Philharmonic for over 50 years. The artistic collaboration with Maestro Muti began in 1971. Since then, he has conducted over 500 concerts with the orchestra, including six New Year's concerts, Philharmonic subscription concerts, memorial concerts, annual orchestral concerts at the Salzburg Festival, guest performances and tours, and numerous opera productions. He has been an honorary member of the Vienna Philharmonic since 2011. The annual New Year's Day Concert in Vienna has been a major event for more than eight decades, since 1939, being broadcasted on TV and radio, and reaching millions of viewers in over 90 countries across the globe. The concert has previously been conducted by world-famous maestros such as Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, Franz Welser-M�st, Gustavo Dudamel and others. The Vienna Philharmonic, as musical ambassadors of Austria, send people all over the world a New Year's greeting in the spirit of hope, friendship and peace with the lively and light-hearted and at the same time nostalgic and profound music from the vast repertoire of the family of Johann Strauss and it's contemporaries.

Few concerts in the world are awaited with as much excitement as the New Year's Concert from Vienna. Under the direction of Riccardo Muti, the Vienna Philharmonic ushers in the New Year with a concert in the magnificent Golden Hall of the Vienna Musikverein. Marking his seventh time conducting this prestigious event, Riccardo Muti leads the orchestra in a program that celebrates the 200th birthday of Johann Strauss II, exploring new perspectives on the musical world of the Strauss family. Riccardo Muti has played an exceptional role in the history of the Vienna Philharmonic for over 50 years. The artistic collaboration with Maestro Muti began in 1971. Since then, he has conducted over 500 concerts with the orchestra, including six New Year's concerts, Philharmonic subscription concerts, memorial concerts, annual orchestral concerts at the Salzburg Festival, guest performances and tours, and numerous opera productions. He has been an honorary member of the Vienna Philharmonic since 2011.

Many collectors will have heard these performances one way or another, but Music & Arts isn't kidding when it tells us that these performances were remastered in 1998 "from the best available sources." The live sound is great, considering its age. (Credit goes to Maggi Payne.) Furthermore, six and a fraction Mahler symphonies on six well-filled CDs, and for the price of four, is a bargain. But all this good stuff would be as useless as a preacher in a house of ill-repute if it weren't for the blazing nature of the musicianship. Our Editor usually passes Mitropoulos discs my way because he knows I sympathize, so perhaps my opinions are biased. Nevertheless, I think I am speaking reasonably when I say that all good Mahlerians will want these discs. No, they will need them. That Mitropoulitans such as myself will have to have them is predictable, and only right. In short, this is a fabulous collection: an orgy of great music interpreted greatly.

Context is needed. In the late 1950s, Mitropoulos was being driven out of New York in favor of the younger, more photogenic, more glamorous, and publicly heterosexual Leonard Bernstein. (Bernstein's role in Mitropoulos's downfall is traced in William R. Trotter's Priest of Music: The Life of Dimitri Mitropoulos, which is published by Amadeus Press.) Lest it be thought that I am about to engage in Lenny-bashing, let me reassure readers that I believe him to be one of the century's great conductors. His reputation, however, has come to eclipse Mitropoulos's. There is an unfair tendency, particularly in America, to regard Bernstein as the conductor who single-handedly brought Mahler's music back to life, proving it was playable by orchestras and listenable by audiences. This set shows that Mitropoulos was performing the music too, and his interpretations were not those of an also-ran. Bernstein's Mahler, then, didn't just appear out of nowhere, and it wasn't until the last decade of his life that he had the maturity to be a deep conductor of Mahler, rather than simply an entertaining one.

Here, Mitropoulos was at the end of his life. In fact, all of these performances but one find him less than 15 months from death. (The Third, recorded in New York, is from 1956. I'm not sure why Music & Arts didn't use the Third recorded in Cologne three days before his death. It's been available on several "pirate" labels and is regarded as superior to the one offered here.) There's nothing sickly about this Mahler, though. Like Bernstein, Mitropoulos was a dramatic conductor, and his intensely physical response to the music was communicated to the orchestra and to the listeners. Unlike Bernstein, though, Mitropoulos's Mahler never is self-indulgently neurotic, and the Greek conductor never strains for effect, never neglects to look for the light and the shade. There are some stretches of conducting (try the first two movements of the Fifth) where the effect produced is positively nerve-wracking, but they are balanced by other stretches of such tender, consoling beauty that Mahler's muse comes to seem more Classic than Expressionistic.

Turning to individual performances, it is interesting to compare the "live" New York First with the studio version he recorded with the Minneapolis Symphony Orchestra for Columbia Records in 1940. (It's now on Sony Masterworks Heritage MHK 62342. Incidentally, it was the symphony's first recording ever.) Twenty years later, Mitropoulos took slower tempos in all the movements, but most dramatically in the finale (19:58 vs. 17:18). The bulk of the difference comes from the movement's last third, where the added breadth pays a big emotional dividend. Perhaps because his New York orchestra was so much better, Mitropoulos finds delicious subtleties that were beyond the Minneapolitans. Try the stealing in of Spring—it's a little comic, and it's oh-so-very tender.

In 1956, it had been 34 years since the Third Symphony had been conducted in New York (by Mengelberg). It almost tums into a different piece in the performance preserved here. Most conductors take 33 or 34 minutes to traverse the massive opening movement, the composer's longest non-vocal stretch. Mitropoulos's idea is to show that it can be done in 25 without seeming rushed. Incredibly, he succeeds—try the boisterous "Rabble" section to see what benefits he brings to it. The audience breaks into spontaneous applause after this movement. The other movements are fast too; some of the passages in the Third approach the alarming. This certainly is a potent performance, one that left me feeling better about the symphony as a whole than I sometimes do. But there's no denying that the instrumental and vocal balances are odd, and that the orchestra has its rough times. For me, what really throws this performance into left field is the fact that it is sung in English! The fourth movement isn't too bad, but when the fifth begins with—I kid you not—childish cries of "Boing! Boing!" you know you've wandered into the Twilight Zone. And what about the same movement's fade-out? The choruses aren't identified. Perhaps this is just as well, because they have problems with singing in tune.

The Fifth Symphony was performed just one week before the First reviewed above. As with all of the performances dating from January 1960 (this includes the Ninth and the Tenth), this is very strong Mahler. My first impression of this performance was that it is neurotic as all hell, but subsequent listens moderated that impression somewhat. What does characterize this performance, for me, is its sensitivity to the music's emotional ebb and flow. Of course. Mahler divided the symphony into three parts, the first part comprised of the first two movements, the second part comprised of only the third movement, and the last part comprised of the last two movements. Mitropoulos's is the only performance 1 know of that finds a different sound, a different temperament, if you will, for each of the three parts. The effect is striking. The first part is tense, even vicious, but then there's a sea change in the Janus-faced Scherzo. The Adagietto (11:03) takes on erotic proportions, and the Rondo-Finale is perhaps the only relative disappointment, not building to the triumph one ideally wants as an end to this symphony. Some noise, not unlike that of a slightly mistuned AM radio station, creeps into the fourth movement. Otherwise, all goes well.

The Sixth Symphony, recorded in 1959 with the Cologne Radio Orchestra, is relatively traditional, but hardly dull. It gets stronger as it progresses: the Scherzo—terribly bitter, in this performance— has a singularly menacing, grotesque trio, and the third movement heaves with a heavy passion. While remaining within traditional parameters of tempo, Mitropoulos's Finale is unwontedly coherent... and fatalistic. Perhaps surprisingly, the German orchestra is a little more reliable, even if it does reach the heights of inspiration heard in the New York tapings. The quality of the sound is A-OK.

Probably the most familiar of these performances is the Eighth, which was recorded in Vienna in August 1960. (Again, remember this was only a few months before the conductor's death.) It has been released on several different labels. It was the first Mahler Eighth I owned, before I was old enough to know what I was doing. (It was coupled with a "live" recording of Mahler's Second, conducted by Klemperer. Call it beginner's luck.) In his book, Trotter recounts how Mitropoulos, uncharacteristically, was beside himself with frustration during rehearsals. The concert, however, was regarded as a triumph. The first movement unfolds with unhurried glory; the female soloists are especially radiant. In the second movement, Prey distinguishes himself in his long solo, but overall, I just don't find the voltage to be very high. The sound is only middling, apparently having been spliced together from two or more different sources. In this symphony, my affection lies with Bernstein's first commercial recording of the work, still available in the "Royal Edition."

One begins to suspect that, at least at the end of his life, Mitropoulos became a different conductor whenever he was in New York—almost as if he had to prove something to the orchestra, the critics, or the audiences. Once again, the Ninth Symphony, and the torso of the Tenth, are given white-heat performances in the latter half of January 1960. Mitropoulos so moved the New Yorkers with the Ninth that he said, "Perhaps Gustav Mahler led my baton from the beyond," a ghoulish statement, given the conductor's failing health. But Mitropoulos does not go gentle into that good night—there is anger mingled with the resignation in the Adagio. And, in the Rondo, Mitropoulos predictably finds the darkest colors in Mahler's superficial high spirits. Just listen to the opening bassoon scales and you'll hear communicative musicianship of the highest order.

I believe Mitropoulos conducted all of Mahler's symphonies, with the exception of the "Resurrection." He conducted the Fourth in Minneapolis and the Seventh in New York—how exciting it would be if tapes of those performances were to surface. Also, how exciting it would have been if the present symphonies had been recorded in the studio, and in stereo. It should have been so. Nevertheless, this set contains more than one can digest quickly, and it can create nothing but support for Dimitri Mitropoulos's still-rising reputation. How ironic that it has taken more than 35 years for that resurrection to take place!

-- Raymond Tuttle, FANFARE

THE ROYAL EDITION - STRAVINSKY

THE ROYAL EDITION - SCHUMANN:

Teaming composers as disparate as Bloch, Foss and Ben-Haim on the basis of shared ethnicity seems a slightly dubious exercise. On the other hand, since these three performances may be considered definitive, this is a real opportunity to discover some worthwhile new music. Bloch's Sacred Service is perfectly approachable in idiom, although, in echoing 'colourful' scores like Schelomo rather than anything more astringent, Bloch does not avoid an impression of rhythmic squareness. Those familiar with the more avant-gardiste utterances of Lukas Foss will scarcely recognize the composer from his early Song of Songs, at last getting a proper UK release. The manner is postHindemith, pre-Bernstein; Tippettian pastoral, with an exotic element intensified here by the cosmopolitan delivery of Jeannie Tourel. The orchestral accompaniment is not technically beyond reproach but the playing has total conviction and Tourel's is a performance to treasure. Only the post-Stravinskian eclecticism of Ben Haim's Sweet Psalmist of Israel is a little hard to take over half an hour.

-- Gramophone [11/1992]

CORRETTE Symphonies des noëls: No. 2 in D; No. 4 in D; No. 5 in a; No. 6 in A. Concertos comiques: No. 4, “Le quadrille”; No. 7; No. 19, “La Turque”; No. 24; No. 25, “Les sauvages et la Furstemberg” • Arion (period instruments) • EARLY-MUSIC.COM 7768 (67:32)


What a delightful disc this is! These examples of light, humorous music still amuse us nearly 300 years after they were written. Michel Corrette may have been more important for his work in fields other than composition. He published 15 methods to instruct students in all of the common instruments. He was active as a publisher of his own works and the music of others. But he also was very active as a composer of, among other things, cantatas, ballets, motets, organ pieces, harpsichord sonatas, and symphonies. He was the first composer in France to compose concertos for wind instruments and for organ.


Today Corrette is probably best remembered for his 25 Concertos comiques , published between 1733 and 1760. The concertos are based on well-known songs and popular tunes. Corrette performed these delightful works during the intermissions of performances of the Opéra-comique at the St. Laurent and St. Germain fairs. The Symphonies des noëls are suites of variations based on popular noëls, which are “profane airs, dance tunes, drinking songs, and New Year’s pieces” according to one description. The melodies are immensely pleasing, and Corrette’s variations testify to his enjoyment in working with them.


The music is performed by seven members of the Canadian period-instrument group Arion. Their tempos are lively but not rushed. The performers are obviously very talented and expert.


This recording was issued on the Atma label in 1999; it does not seem to have been reviewed in Fanfare . Two of the Noëls and Concerto comique No. 25 are available elsewhere, but there is no other collection that allows us to hear so many of these splendid works. I cannot imagine anyone whose spirits would not be lifted immediately on hearing this disc. My only regret is that Arion did not follow up with recordings of the other works from these two collections. Highly recommended.


FANFARE: Ron Salemi

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

This double-CD set from RCA Japan (courtesy of Arkivmusic.com's on-demand reprint program) preserves what presumably is the best of Mieczyslaw Horszowski's December 9 and 11, 1987 Casals Hall Tokyo recitals, along with the encores from each date. Listen blindly and you'd guess that an older yet quite well preserved and highly experienced pianist was at work, someone between 60 or 75. Try the 95-years-young Horszowski, who's on top form.

True, he doesn't exactly sprint through the Chopin B minor Scherzo's outer sections as he did back in 1940, but he makes a virtue out of necessity by leisurely unfolding and consistently sustaining the music's polyphonic interest. This also holds true for the C-sharp minor Polonaise. The A-flat Impromptu amounts to a bel canto masterclass, while Horszowski requires only dabs of pedal to project the Mozart K. 332 sonata's first movement to such texturally differentiated effect.

The Bach Fifth English Suite is full-bodied and virile yet sensitively delineated (the Prélude's effortlessly conversational flow between hands, each of the Passepied's bouncy, delightfully ambidextrous qualities). Perhaps the fountain of youth kicks in strongest with the two Villa-Lobos miniatures, served up with red-blooded élan. The encores abound with memorable moments. Horszowski plays the Op. 25 No. 2 Etude's opening statement as if he were kneading the triplet passagework into a seamless legato line, yet upon its reiteration he lightens the tone and mostly eschews the pedal.

Force and finesse are the yin and yang elements that anchor the three Nocturnes. The elusive yet palpable give and take of Horszowski's rubato in the B minor Op. 33 No. 4 Mazurka is easier for to you hear than for me to describe. Horszowski played Mendelssohn's Spinning Song on both concerts; the second version is more fluent and relaxed. He also repeated the Mozart sonata's Adagio, or, more accurately, sang it out in full operatic splendor. The slightly distant microphone placement accurately depicts Horszowski's tone from the perspective of an audience member sitting in the best seat of the house. Notes in Japanese only.

--Jed Distler, ClassicsToday.com