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
Prokofiev: Alexander Nevsky, Lt. Kijé / Casadesus, Et Al
The first thing to note is that this CD was in fact recorded live, although it’s not clear until the applause at the end that this is the case. There is no audience noise and the recording is very sharp, clear and close to the orchestra.
Alexander Nevsky opens with “Russia under the Mongolian Yoke”, with harsh open octaves setting the scene perfectly. This is followed by a song about Alexander Nevsky recalling an earlier battle. The chorus in this recording are the Latvian State Choir and, although I am not a Russian speaker myself, the words seem to be very clear and the choral singing excellent. The song about Nevsky is beautifully interpreted with a clear contrast being drawn between the more reflective parts of the song at the start and finish and the recollection of battle in the central section. The third section suggesting the appearance of Teutonic knights in the city of Pskov, with brass and percussion blaring out a bleak warning, is performed in this recording with enough gusto to bring a chill to one’s spine!
I had a chance to hear the recording of this work by Fritz Reiner and the Chicago Symphony Orchestra, and it is interesting to note that Reiner adopts a much slower tempo than Casadesus for the second and third parts, which seems to me to work better, even if there is the slightly off-putting factor of Reiner’s recording including the text in English.
The fourth section (Arise, ye Russian People), allows a distinct contrast to be drawn between the different emotions; the call to arms which opens this song, along with the more reflective middle section. Again these contrasts are handled excellently in this recording.
It is the fifth section (The Battle on the Ice), which is the longest. In fact this section took up a large part of the film. The performance is clean and precise. Perhaps it is this precision that takes away a little from the tension that one would expect in a battle scene; for me there is still enough there to get the adrenaline going. Special mention should go to the percussion section, who are able to drive the music on without overpowering it, no mean feat with such music. On balance, I would have to say that the Reiner/Chicago SO recording narrowly wins in terms of building tension, but there’s not a lot in it.
The sixth section (The Field of Death) is where we hear the mezzo-soprano, Ewa Podles, lamenting the lives lost in battle. Her wonderful deep voice carries these sentiments perfectly, assisted by some sensitive playing.
The final section (Alexander’s Entry into Pskov) ends the work on a triumphant note, aided by another excellent piece of chorus singing; they are able to hold their own to the very end and are not overpowered by the orchestra.
Overall, this is an excellent performance of Prokofiev’s colourful and exciting score, which I would recommend highly.
-- Euan Bayliss, MusicWeb International
V 3: BRANA RECORDS COLLECTION
Mozart: Requiem, Etc / Schuldt-jensen, Leipzig Co, Et Al

This falls very neatly into the category of clean, tidy, well-mannered, and very articulate Mozart Requiems, with crisp rhythms and expeditious tempos that perfectly suit the moderate-sized performing forces. There are so many different versions, editions, and variations of each version and edition of this famously unfinished work that your preference may just come down to whichever one you heard first, or whether you prefer period or modern instruments, Süssmayr or Levin, Decca or Telarc. Who knows--but suffice it to say, this new recording from Leipzig stands as a solid, safe choice, with no faddishness, bad soloists, or strange conductor mannerisms (except for an unnecessary, gratuitous pause just before the final chord). The only thing missing is the more pointed expression and scintillating power of some other versions on disc, from Marriner/ASMF (still my favorite Süssmayr/modern-instrument recording) to Pearlman/Boston Baroque (the Levin edition, with period instruments), or Herreweghe (Süssmayr, with period instruments). I also feel that in general the brisker tempos detract from the movements where more solemnity and weight is required. However, the keenly-drawn phrasing and careful diction, along with a more modestly-proportioned orchestra, brings an intimacy to the work that we usually don't experience.
--David Vernier, ClassicsToday.com
BRAHMS: Symphonies Nos. 3 and 4
Chill With Beethoven
BERLIOZ: Requiem, Op. 5
Beethoven: String Quartets, Vol. 6 / Borodin Quartet
GRAINGER: Duke of Marlborough Fanfare (The) / Lincolnshire P
The Legacy of Aaron Copland / U.S. Army Field Band Soldiers' Chorus
The Legacy of Aaron Copland is an eclectic collection of works written by the great American composer Aaron Copland. Regarded as the "dean of American music", Copland's works are said to evoke the limitless American landscape as they achieve a difficult balance between modern music and American folk styles. (Altissimo)
VIVALDI: Chamber Concertos
The Very Best Of Beethoven
Includes work(s) by Ludwig van Beethoven.
Beethoven: Favourite Piano Music
Orff: Carmina Burana
Volume 5 of Profil's Günter Wand Edition is devoted to Carl Orff's massive and enormously popular cantata, Carmina Burana, in a stirring radio performance presented with the NDR Sinfonieorchester in 1984. (Profil)
Chopin: Piano Concerto No. 2 in F minor, Op. 21
Chopin’s melodic inventiveness emerges in the piano, as the soloist repeats the main themes before introducing virtuoso figurations and ornaments. - Interlude (Profil)
