SUMMER BLOWOUT SALE 2026
Over 1,000 titles from top classical labels are on sale now at ArkivMusic!
Celebrate summer with a collection of music filled with color, charm, and discovery. From the shimmering worlds of Debussy and Ravel to the folk-inspired melodies of Dvořák and Grieg, the vibrant landscapes of Respighi and Copland, and the timeless brilliance of Mendelssohn, Saint-Saëns, and Vivaldi, this sale brings together recordings perfect for the season. Browse titles spanning beloved classics, orchestral favorites, chamber music, and contemporary discoveries, and find something new to enjoy all summer long.
Shop now before the sale ends at 9:00am ET, Tuesday, July 28th, 2026.
1004 products
Glass - Glassworlds Vol 1 / Horvath
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Reviews:
This disc is important because it demonstrates that Glass’s music works quite nicely alongside other composers of the past and alongside quite traditional approaches to performance generally.
– American Record Guide
Somehow, the objectivity of the sound of a piano suits the music of Philip Glass perfectly. Certainly that’s how it seems in Nicolas Horvath’s expert performances.
– International Piano
Tchaikovsky: Eugene Onegin, Op. 24, TH 5 (Sung in German) [L
Haydn, Brahms & Zemlinsky: String Quartets
Beyond the River God
Mozart: Violin Concertos No 1, 3, 4 / Zimmermann
When Frank Peter Zimmermann says that Mozart has always been easy for him, he needs only to recall his debut concert at the age of ten when he played Mozart’s G major Concerto K. 216; or when as a fresh 20-year-old, he made his first recording of the five concertos for EMI. He’s played these works nearly 300 times in concert, and one can appreciate the intense physical and spiritual experience that Zimmermann brings to these new recordings.
Transcriptions for Strings & Organ of the Historical 20th Ce
The latest Tactus CD from I Solisti Laudensi features works by six Italian composers (two by Vivaldi) active from the Baroque to the 20th c., in transcriptions for organ and strings accomplished in the 19th c, as well as a 20th c. piece for identical forces by the 20th c. composer Cardenio Botti. Founded in 1970, the I Solisti Laudensi ensemble’s many standout appearances have taking place at festivals and in concert halls throughout Italy and across Europe.
Rossini: Il barbiere di Siviglia
Handel's Recorder
Weber: Der Freischütz, Op. 77, J. 277
Fauré, Lekeu & Ravel: Violin Sonatas / Little, Roscoe
Exclusive Chandos artist Tasmin Little and pianist Martin Roscoe immerse themselves in music of three of the best late 19th c. French composers: Gabriel Fauré, Guillaume Lekeu and Maurice Ravel. + Despite its daunting reception, Faure’s ́ Sonata in A major (1875) has often been regarded as his first masterpiece. + As the last arrival in the ‘Bande à Franck’, Lekeu’s Violin Sonata, of 1892–93 is by far the best known of his fifty or so pieces of ‘tremulous emotion’. + The opening movement of Ravel’s early, unfinished violin sonata convincingly unites several different romantic French styles.
The Wonder of Christmas / Elora Festival Singers
The Elora Festival Singers, conducted by internationally acclaimed director Noel Edison, is one of the most exciting of contemporary choirs. Their disc of Eric Whitacre’s choral music was nominated for a GRAMMY® in 2010. Now they turn to the art of the Christmas carol, a genre covering a variety of styles, both popular and refined, each piece expressing religious sentiments and beliefs. The music ranges from much-loved settings to new works, from polyphony to more straightforward melodies, in a recital stretching from the Middle Ages to the music of today.
Flowers of the Field / Wetton, London Mozart Players
These composers were all affected by the carnage of World War I, and their elegiac music expresses regret and lost innocence, love won and lost, sacrifice and death. George Butterworth’s A Shropshire Lad, conceived as an epilogue to his Housman song cycles, encapsulates the poet’s sense of life’s transience. Ivor Gurney was both shot and gassed in 1917, and The Trumpet pleads with mankind to set aside the folly of war. Heard here in a new completion, Gerald Finzi’s Requiem da Camera mourns the death of his mentor Ernest Farrar and those of other fallen artists, and Ralph Vaughan Williams’s An Oxford Elegy recalls lost friends with an intense and magical nostalgia.
Dvorak: Requiem / Wit, Warsaw Philharmonic


Dvorák’s Requiem seems to be making a comeback, with new recordings by Järvi, Jansons, and best of all, this one by Antoni Wit, featuring the excellent Warsaw Philharmonic Orchestra and Choir and four first-class soloists. It’s not an easy work to bring off as far as requiems go. Less histrionic than the Berlioz, less operatic than the Verdi, the work is symphonic in conception and structure, with a chromatic “death” motive that runs through most of its movements, and tightly integrated textures requiring careful balances between the soloists, choir, and orchestra.
The work’s architecture is impressive: two parts, each containing a central pillar marked off by repetitions of a big chorus, the Dies irae in Part One, and the Quam olim Abrahae (the catchiest choral fugue in the entire 19th century) in Part Two. That Dvorák was clearly thinking in terms of balance and large-scale structure is shown by his placement of the Pie Jesu between the Sanctus and the Agnus Dei. Normally it forms part of the Dies irae sequence, but here it represents an island of repose before the large-scale, recapitulatory finale, while bringing the timing of the second part more in line with the first.
One of the most interesting things about the Requiem is that, unlike almost all of its predecessors, it does not end with a vision of consolation. In fact, the conclusion is remarkably unsentimental, even grim, with Dvorák returning to the “death” motive and staying in a minor key right up to the final bar. Conceptually it’s more like Mahler’s Sixth, with its “fate” motives, than virtually any other contemporary work, and this fact may account for the music’s comparative neglect. It is, without question, a masterpiece.
Hitherto there have been two great recordings: Ancerl’s on Supraphon, and Kertesz’s on Decca. This one effortlessly joins them. Wit just may be the best conductor around these days for big choral works such as this (remember his knockout Mahler Eighth). He finds more ear-catching detail in the music than anyone else has to date. Even the biggest climaxes of the Dies irae never turn thick and heavy. The flowing tempos certainly help, but there is throughout a remarkable clarity to the textures that reveals a real podium master directing a first-class ensemble.
The soloists, who have a lot to do, are also uniformly excellent. In Christiane Libor we have a soprano with plenty of heft to the voice without a hint of shrillness; tenor Daniel Kirch never sounds like he’s crooning; Janusz Monarcha is a real bass, with no trace of wobble anywhere in his tone, while Ewa Wolak never sounds like she’d be better off taking the contralto lead in Gilbert and Sullivan. They are marvelous both singly and as a group, particularly in the mostly solo Recordare. First class engineering makes this a wonderfully satisfying release that hopefully will win many new friends for this powerfully expressive and masterful work.
– David Hurwitz, ClassicsToday.com
Haydn: The Seven Last Words of Our Saviour (Version for Keyb
Scarlatti: Sinfonie di Concerto Grosso
Compared with his immense vocal composition output (most of which remains to be rediscovered), the quantity of instrumental music composed by Alessandro Scarlatti would almost seem hardly worth the mention. + Yet the selected compositions on this double-disc set are immensely important, in that they allow immediate assessment of Scarlatti’s style, then nearing creative decline, which appears to be suspended between the glorious contrapuntal tradition and beautiful melodies that look decidedly towards the future. + Enrico Casazza leads the Accademia della Magnifica Comunità.
Albeniz: Piano Music - Espana; Deseo; Zortzico; Yvonne En Visite!
WINTERREISE
Beethoven: The Middle String Quartets / Cypress String Quartet
Bruckner: Symphony No 5 / Thielemann, Dresden Staatskapelle [blu-ray]
Also available on standard DVD
Christian Thielemann and the Staatskapelle Dresden are continuing their internationally acclaimed Bruckner cycle with the Symphony No. 5. For Anton Bruckner, his Fifth Symphony was a glorious confrontation with the music of the past – from a personal, biographical angle, but also as a departure from the composition techniques he preferred up to this point. Not for nothing is this tremendous opus magnum regarded as Bruckner’s “contrapuntal masterpiece”. In this universally lauded performance, Christian Thielemann, already the leading Bruckner interpreter of our times, has once again proven himself to be a “magician of the Bruckner sound”. (Kurier)
Anton Bruckner
SYMPHONY NO. 5
(Blu-ray Disc Version)
Dresden Staatskapelle
Christian Thielemann, conductor
Recorded live at the Semperoper, Saxon State Opera, Dresden, 2013
Picture format: 1080i High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French
Running time: 89 mins
No. of Discs: 1 (BD 25)
Bruckner: Symphony No.1 in C Minor, WAB 101 (Linz Version)
Cantate da camera Il lamento d'Olimpia
Alessandro Scarlatti’s cantata Bella madre de’ fiori, opens with a slow-tempo Sinfonia followed by a series of arias and recitatives, the last of which is perhaps the most intensely poetic and stylistically original section of the whole cantata. Giovanni Bononcini’s Il lamento di Olimpia opens with a two-movement delicately pastoral prelude; the most important dramatic moments of the text are in the two recitatives rather than in the cantata’s da capo arias. For the cantata Care luci del mio bene, Bononcini has given us a composition of exquisite elegance in superb cantabile style.
Bartók: Concerto No. 2 - Prokofiev: Concerto No. 1 (Live)
Prokofiev: Symphonies Nos. 1 'classical' & 2; Dreams
V 3: GIULINI COLLECTION
Haydn: Piano Concertos 3, 4 & 11 / Bavouzet

A couple of years ago this release would have made an easy reference recording. Bavouzet’s Haydn thus far has been excellent, and his playing on this disc is extremely fine: tasteful in its sustained lyricism in the adagios, and brilliant in the outer movements. Indeed the finales are, if anything, perhaps too quick to permit the fullest characterization of the music, but there’s no questioning their dazzling virtuosity.
Unfortunately for Bavouzet, this repertoire is now very well covered both on period instruments (for BIS and Harmonia Mundi) and above all by Marc-André Hamelin and Les Violons du Roy on Hyperion, which gives you the best of both worlds. Make no mistake, the Manchester Camerata under Gábor Takács-Nagy plays very well, and they are of one mind with Bavouzet. It’s just that the competition is better, however marginally. In the slow movement of the Concerto in F Major, the use of solo strings to open and close the movement strikes me as unnecessarily mannered, and Bavouzet’s cadenza, intended as a tribute to Friedrich Gulda in jazz mode, comes across almost as a weird paraphrase of the theme song from “The Young and the Restless”.
This is the only questionable moment in what is otherwise a wholly enjoyable release, and if you’ve been collecting Bavouzet’s Haydn (and you should be) then I can recommend this latest installment warmly. But as I said, there are several alternatives, Hamelin above all, that you might prefer if you have limited shelf space.
-- David Hurwitz, ClassicsToday.com
