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Vierne: Violin Sonata in G Minor; Piano Quintet in C Minor

Accentus Music

$17.99 May 27, 2016

Both already accomplished soloists, violinist Judith Ingolfsson and pianist Vladimir Stoupel began an outstandingly successful collaboration in 2006, devoting their partnership to chamber music and cultivating uncommon repertoire. The music on this album is dedicated to composer Louis Vierne (1870-1937), whose life was marked by unfortunate events and was influenced greatly by the first world war. This album includes Vierne’s Sonata for Violin and Piano in G minor, and his Piano Quintet in C minor. Ingolfsson and Stoupel are joined by violinist Rebecca Li, violist Stefan Fehlandt, and cellist Stephan Forck for this recording.

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Vierne: Violin Sonata in G Minor; Piano Quintet in C Minor
Accentus Music May 2016
CD
$17.99

MOZART: Mass No. 18 in C minor, K. 427, 'Great' / Kyrie in D

Naxos

$13.99 ~~$19.99~~ Save 30% Oct 01, 2000

The Mass in C minor reflects Mozart's current preoccupation with the music of Handel and Johann Sebastian Bach, explored with the encouragement of Baron van Swieten, an important patron. The work is scored for pairs of oboes, bassoons, horns, trumpets and timpani, with three trombones, strings and organ continuo. After a brief orchestral introduction, the four vocal sections enter in contrapuntal imitation and the movement continues in the monumental and generally conservative style that the Salzburg Archbishop would certainly have discouraged. The soprano soloist introduces the florid Italianate Christe eleison and the contrapuntal choral texture is resumed with the return of the Kyrie. The Gloria opens in affirmative C major, leading almost at once to energetic fugal writing, relaxing momentarily at the words pax hominibus bonae voluntatis (peace to men of good will). Laudamus te is in F major, marked Allegro aperto. It is scored for solo soprano, oboes, horns and strings and is in operatic style. Trombones and bassoons return for the A minor Adagio of Gratias agimus tibi, now with a five-part choir. To this the D minor Domine Deus, Rex caelestis, scored for strings and two soprano soloists, offers an immediate contrast. In Salzburg the second soprano would presumably have been sung by one of the castrati employed by the court musical establishment. There is a return to a more traditional Baroque style in the solid dotted rhythms of the G minor Qui tollis peccata mundi, for two four-part choirs with the full orchestra. The two soprano soloists are joined by a solo tenor for the E minor setting of Quoniam tu solus Dominus, scored without trombones or horns. The solo voices enter in energetic contrapuntal imitation, over which the spirit of Handel seems to loom, seen through a Mozartian prism. There is a brief C major choral Adagio for the words Jesu Christe, before the splendid formal Baroque fugal setting of Cum Sancto Spiritu, in the same key. The unfinished Credo starts with a movement for five-part choir, scored without trombones.

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MOZART: Mass No. 18 in C minor, K. 427, 'Great' / Kyrie in D
Naxos Oct 2000
CD
~~$19.99~~ $13.99

enSuite

Ramee

$20.99 Apr 26, 2024

The 18th century had a dynamic musical scene in which much experimentation went alongside respect for accepted traditions. A wide range of hybrid forms emerged in the wake of the French dance suite and the new Italian solo sonata: not only sonatas with divergent forms and suites in which French character titles suddenly gave way to Italian tempo indications, but also everything in between. Korneel Bernolet here presents an anthology of European 'compiled' sonatas in the form of or derived from suites, alongside contrasting compositions that sought the true sonata form. He plays the Joannes Daniel Dulcken magisterial 1747 single-keyboard harpsichord, whose ambassador and titular player he is.

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enSuite
Ramee Apr 2024
CD
$20.99

Clifford Curzon and Georg Solti Live Recordings
Archipel Jan 2012
CD
$10.99

J.S.BACH: ORCHESTRAL SUITES 1 & 2 - SHM-SACD
UNIVERSAL JAPAN Mar 2026
SACD
$37.99

Copenhagen Suite
SteepleChase Oct 1997
CD
$22.99

Mozart: Piano Works
Prospero Classical Jan 2025
CD
$21.99

Horszowski Live At Casals Hall 1987

RCA

$24.99 Sep 18, 2009

*** 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

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Horszowski Live At Casals Hall 1987
RCA Sep 2009
CD
$24.99

Bland: Piano Sonatas, Vol. 3

Bridge Records

$16.99 Feb 07, 2025

The previous volumes of William Bland's piano sonata cycle have met with ecstatic praise from the international press. American critic Ken Meltzer writes: "Compelling music, superbly performed. A marvelous presentation of the Romantic piano in full flight." And from British critic Colin Clarke: "The range of expressive tools is vast. It's grand music, with grand playing from Kevin Gorman. It is fervently to be hoped that this series continues." The Atlanta Audio Society wrote of Vol. 2: "In the last analysis, this is one of the best new piano recordings of the year." The brilliant 30-year old American pianist Kevin Gorman's new recording presents premieres of two sonatas: No. 6 in c minor, Bestiary - con Amore (2001) and No. 15 in e-flat minor (2004).

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Bland: Piano Sonatas, Vol. 3
Bridge Records Feb 2025
CD
$16.99

3 Sonatas, Op. 10

Challenge Classics

$16.99 Feb 20, 2026

Beethoven's three Sonatas Op. 10, written between 1796 and 1798, mark a decisive step from the Classical clarity of Haydn and Mozart toward a bolder, more individual language. Each sonata displays a distinct character: the C minor No. 1 combines tragic urgency with structural concentration; the F major No. 2 reveals Beethoven's emerging humor and rhythmic invention; and the expansive D major No. 3 unfolds an unprecedented emotional and architectural scale, crowned by the visionary Largo e mesto. The unifying rhythmic motif of "short-long" pulses through the set, foreshadowing the composer's later dramas. Performed on an 1820 Conrad Graf fortepiano, Roberto Prosseda's interpretation restores the music's raw contrasts, speaking timbres, and anti-rhetorical gestures that modern pianos often smooth away. In his personal note, Prosseda explains how returning to these works on a historical instrument transformed his understanding of Beethoven's expression. The fortepiano's transparency, differentiated registers, and responsive mechanism invite a freer phrasing and more rhetorical, speech-like delivery. He aims not for novelty but sincerity-seeking to rediscover familiar music through it's original sound world. Prosseda is one of Italy's leading pianists with a distinguished career, celebrated for his complete Mendelssohn and Mozart recordings and for reviving the pedal piano. This Beethoven Op. 10 album follows his acclaimed Op. 2 set for Challenge Classics, continuing his exploration of early Beethoven on period instruments.

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3 Sonatas, Op. 10
Challenge Classics Feb 2026
CD
$16.99

Mix & Match

Bruckner: Symphony No. 8 in C Minor
SOMM Recordings Jul 2000
CD
$32.99

Rimsky-Korsakov: Symphonies Nos. 1 & 3

Naxos

$19.99 Apr 08, 2016

When the 21 year old Rimsky-Korsakov’s Symphony No.1 in E minor was premièred in December 1865 it was hailed in some quarters as the first truly Russian symphony. The leader of ‘The Five’, Balakirev, favoured the use of eastern themes in the search for a personal symphonic path for national music and Rimsky seemed to signal an alternative to the German-influenced music of Anton Rubinstein. He completed Symphony No.3 in C major in 1874. Again it was cast in a thoroughly Russian manner, full of vivacious romanticism and revealing significant technical advances on the earlier work.

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Rimsky-Korsakov: Symphonies Nos. 1 & 3
Naxos Apr 2016
CD
$19.99

Jadassohn: Piano Trios Nos. 1-3
Toccata Feb 2011
CD
$20.99

Bach: Sonatas For Viola Da Gamba / Bylsma, Van Asperen

Sony Masterworks

$17.99 Jul 09, 2009

Bylsma draws a ravishing sound from his instrument often with profoundly affecting results. He is a veritable poet and van Asperen provides a sensitive, tasteful partnership

For many years Bach's three sonatas for viola da gamba and concertante harpsichord have been regarded by cellists as fair game. Now, the Dutch virtuoso cellist Anner Bylsma takes up the challenge not with a baroque or modern instrument but with a violoncello piccolo, an instrument for which Bach showed some fondness in his Leipzig cantatas. There was probably no standard violoncello piccolo in Bach's day but we might say that in general it was smaller than a cello with a fifth string which widened upwards its tessitura. Bylsma's instrument dates from c. 1700. Banished, too, in these interesting experiments is the harpsichord for which a pleasingly bright chamber organ has been substituted.

So far, so good, perhaps, but I am much less happy with some of the arguments put forward by Bylsma to justify his approach. One such is simply that Bach "ceased writing works explicitly for the gamba in the second half of his life, specifying other instruments instead"—a poor argument at the best of times but in this case without substance since it is very likely that at least one of the gamba sonatas does belong to the second part of Bach's life. Furthermore, the categorical assertion given here that the three works were written in COthen in 1720 has long been invalid. Bylsma's belief that Bach's versions for gamba and harpsichord— admittedly only one of them has survived in autograph—work less well than the solution offered here is, at least questionable. In addition, he adds, "compared to the gamba, the cello piccolo is better suited to play sonatas, as it is a member of the violin family". At that point I decided to close the booklet and just listen to the performances. They are, as we might expect from such an accomplished artist, very good indeed. Bylsma draws a ravishing sound from his instrument often with profoundly affecting results. They are, however, quite at variance with those which Bach intended, for not only is the instrumentation different but so, too, is the pitch. Little of the eloquence in Bach's writing in point of fact is lost but the colours are brighter and our senses respond accordingly. Not everything comes over with equal conviction and I found, for example, the beautiful opening Adagio of the too often underrated D major Sonata disappointing in its jerky, almost perfunctory progress.

Having so far done little but protest I am inclined to end on a positive note. These experiments, and that is what they are, have considerable charm in the hands of such gifted players as these; and, in addition a recording of one of J.C.F. Bach's two cello sonatas is welcome. It is lightweight but effectively written and delightfully performed music. Bylsma is a veritable poet and I know I shall want to hear the sound of his playing on this disc from time to time. Bob van Asperen provides a sensitive, tasteful partnership and the recorded sound is excellent. An unusual issue.

-- Gramophone [3/1991]

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Bach: Sonatas For Viola Da Gamba / Bylsma, Van Asperen
Sony Masterworks Jul 2009
CD
$17.99

Beethoven: Violin Sonatas Nos. 3, 7 & 8 / Weithaas, Varjón

CAvi-music

$19.99 Feb 09, 2024

“…Weithaas and Várjon have a great deal to say and are not afraid to say it, but their focus of interest is always and emphatically Beethoven – not themselves.” (MusicWeb Intern’l July 23).

Both highly in demand on a worldwide scale as unique, exceptional chamber music performers: Antje Weithaas and Dénes Várjon each ideally combine the highest degree of enthusiasm and precision: their energetic, passionate playing is the result of intense concentration and precision, combined with a large portion of musicality.

“In Antje Weithaas’s und Dénes Várjon’s complete edition of these sonatas in three volumes, each individual release is designed to illustrate those stages of artistic development (instead of featuring the works in strict chronological order). From the onset, Beethoven ascribed utter importance to the principle of dialogue between the two instruments, as we can infer from a letter he wrote to Artaria on 19 June 1793…
The current Vol. 2 release contrasts the third sonata (in E Flat Major) of the early Op. 12 group with the second and third sonatas of Op. 30. The CD begins with the C Minor Sonata Op. 30, which is undoubtedly one of the two most dramatic sonatas among all ten works in the same genre (the other one being the “Kreutzer” Sonata Op. 47).

The E Flat Major sonata is also the most dramatic one within Op. 12. On the other hand, the last sonata (G Major) in Op. 30 provides a contrast in the form of a cheerful “final dance” (Kehraus), a function it also fulfils on this CD in the wake of the E Flat Major Sonata Op. 12.

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Beethoven: Violin Sonatas Nos. 3, 7 & 8 / Weithaas, Varjón
CAvi-music Feb 2024
CD
$19.99

Paderewski: Songs and Mélodies - Suite in G Major / Smolij, Adamski, Schmidt, Capella Bydgostiensis

Naxos

$9.99 ~~$19.99~~ Save 50% Sep 10, 2021

Although Paderewski is more readily associated with his career as a legendary virtuoso pianist, his modest output of 70 orchestral, instrumental and vocal works deserves to be more widely known. Prominent among his vocal output is a series of early songs that reveal natural flowing patterns while exploring both melancholy and folk idioms. The Douze Mélodies, written at the end of his compositional career, is the most original and striking Polish set of songs of the period, notable for dissonance, chromaticism and a palette of rich and unusual musical colors, to which this orchestral arrangement adds a whole new dimension. Little known, the early Suite in G major offers youthful warmth and brio.

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Paderewski: Songs and Mélodies - Suite in G Major / Smolij, Adamski, Schmidt, Capella Bydgostiensis
Naxos Sep 2021
CD
~~$19.99~~ $9.99

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Schubert: Piano Trio No. 2 - Beethoven: Piano Trio No. 3
IDIS May 2014
CD
~~$16.99~~ $8.49

Haydn: Complete Piano Trios, Vol. 3 / Trio Gaspard

Chandos

$10.99 ~~$21.99~~ Save 50% May 10, 2024

As with the previous volumes in this series, Trio Gaspard has conceived a programme of contrasting trios that works as a standalone recital. The musicians have again included a contemporary work commissioned as part of the project – in this instance the world première recording of Kit Armstrong’s Revêtements. The earliest trio on the album – No. 12 – takes its form from the dance suite, with an opening allemande and concluding minuet framing a minor-key polonaise. Trio No. 19 which opens the programme features two contrasting movements in the same tonality – a spirited Vivace offset by a graceful minuet. The long and complex first movement of Trio No. 25 is followed by two shorter ones. Whilst the outer movements of Trio No. 43 sit firmly in C major, the A major central movement (with an extended central minor key section) displays yet another form of contrast. Trio Gaspard is regularly invited to major international concert halls across Europe and further afield. Highlights of the 2023 / 24 season will include a residency at Wigmore Hall, a performance of Beethoven’s ‘Triple’ Concerto with Uppsala Chamber Orchestra, and recitals in Firenze, Lucerne, Bern, Helsinki, Gateshead, and Heidelberg.

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Haydn: Complete Piano Trios, Vol. 3 / Trio Gaspard
Chandos May 2024
CD
~~$21.99~~ $10.99

Mozart Legendary Interpretations - Lili Kraus - The Piano Sonatas

Sony Masterworks

$41.99 Jan 20, 2010

These 1967/68 recordings are not to be confused with the earlier Mozart cycle Lili Kraus made for the Haydn Society and recently reissued by Music & Arts. Close microphone placement yielded a bright, slightly flinty sonority that I remember from CBS/Odyssey's vinyl incarnation. Although I have not heard Sony's earlier CD reissue, the present edition's warmer, more rounded equalization unmasks subtleties of touch and nuance that showcase Kraus' pianism in more flattering, colorful light than before. In contrast to Joyce Hatto's operatic cultivation, Walter Gieseking's classical poise, and András Schiff's ornamental flair, Kraus is all passion and drama. An expressionist aesthetic governs her boldly contrasted dynamics, hard-hitting accents, and faster-than-common slow movements, along with angular phrasings and pedal effects that underline harmonic felicities and underplay barlines.

This approach best suits darker, more serious pieces such as the C minor Fantasy/Sonata K. 475/457 and the A minor K. 310 sonata. Similarly, Kraus' gaunt, stinging way with K. 331's famous first-movement variations and concluding Rondo Alla Turca liberates the music from decade's worth of interpretive cotton candy.

Perhaps the early sonatas, the bubbly D major Rondo, and "easy" C major K. 545 lack surface charm and elegance, largely due to Kraus' tendency to "think ahead" and push rapid passages slightly ahead of the beat (a habit of her one-time teacher Artur Schnabel), yet her nervous energy always enlivens rather than obliterates Mozart's intentions. I only wish that Kraus also had recorded the wonderful F major Sonata K. 533/494. It's good to have these invigorating, often provocative performances available again.

--Jed Distler, ClassicsToday.com

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Mozart Legendary Interpretations - Lili Kraus - The Piano Sonatas
Sony Masterworks Jan 2010
CD
$41.99

Handel: Water Music; Mozart: Symphonies 36 & 38 / Munch, Boston Symphony

ICA Classics

DVD

$20.99 ~~$26.99~~ Save 20% Feb 28, 2012

CHARLES MUNCH CONDUCTS HANDEL AND MOZART

George Frideric Handel: Water Music Suite (arr. H. Harty)

Wolfgang Amadeus Mozart:
Symphony No. 36 in C major, K. 425, “Linz”
Symphony No. 38 in D major, K. 504, “Prague”

Boston Symphony Orchestra
Charles Munch, conductor

Recorded live from Sanders Theatre, Harvard University on 12 April 1960 (Water Music), 8 April 1958 (Linz Symphony), and 3 November 1959 (Prague Symphony)

Picture format: NTSC 4:3
Sound format: Enhanced Mono
Region code: 0 (worldwide)
Menu language: English
Booklet notes: English, French, German
Running time: 62 mins
No. of DVDs: 1

Precious, unrecorded symphonies served up in vital, energising readings.

It sometimes seems as if WGBH-TV Boston had its camera crew surgically attached to the Sanders Theatre at Harvard. Maybe the crew emerged blinking from a surfeit of lectures, keen to get reacquainted with Charles Munch. The torrent of TV material now emerging on ICA Classics is both very welcome and very difficult to sift. What, usefully, should the critic do to suggest why you may or may not wish to buy this DVD, especially if the critic is me, one who suffers from a dual impulse; firstly to buy DVDs like this and then to despair of ever finding or making the time to watch them.

So, what’s in it for you when you consider this latest Munch DVD? I’m not saying ICA is being naughty but there’s no indication that this is black and white footage; most people will know this, but not everyone will, even if there’s a still of Munch (in black and white) on the box cover. So it’s black and white and in mono. The dates of the concerts are 1958, 1959 and 1960.

The first thing that’s in it for you is that Munch never recorded the two Mozart symphonies in the studio. This makes this AV representation especially valuable. Another thing in it for you, should you be interested in such things (I am), is to see the Boston Symphony in action - the players, the faces, their responses, maybe to try to put names to the faces. To this extent I wish ICA and other companies (almost no one does this, so I’m not singling out ICA) would provide a personnel listing of the orchestra at the time. I appreciate it may not be wholly accurate but I think it would be a nice touch.

Things start with the Handel-Harty Water Music suite, a performance of Beechamesque brio and bravado. If you miss the days of such arrangements then Munch and the Boston won’t let you down. The basses are positioned behind the French horns, and the top to bottom sonority, despite the mono sound, is highly enjoyable. Even though Adolf Busch, Boyd Neel and countless others had trail-blazed in this repertoire, Munch makes no concessions, and nor should he have done. Munch is at his most animated in the Allegro finale, smiling very slightly, his baton swishing about fly-fisherman style in his exuberance. One notices that the director decided that a good idea would be a camera shot ‘stepping down’ the orchestral sections, reasonable in theory, but dodgy in practice, not least when the camera slips, as it does once. One also notices that the Boston was an almost all-male orchestra at the time, and that the average age of the strings, at least, must have been quite high. There are some especially patrician looking gentlemen in the first violin section.

The Linz Symphony is from 1958 and has by far the most degraded film of the three. Grainy and rather unclear, a critic should counsel gently on this point. It’s hardly unwatchable, but you will most certainly notice the difference. The performance is in Munch’s best, taut and linear style; I would suggest George Szell as a reasonable point of comparison in terms of expression. Though sometimes tense, it’s never driven and the wind phrasing throughout is a delight. The Prague was taped in November 1959, with footage comparable in quality to the April 1960 Handel. I sense, unless it’s the increased clarity of the film that alerts me to the upturned eyes directed toward Munch’s beat, that the orchestra follows him that bit more circumspectly in this symphony. He makes the briefest of pauses between the first and second movements, ensuring a kind of symphonic continuity to occur. The band is ready for him, and the unindulged Andante is all the better for his unsentimental approach. The only demerit is not musical but filmic; some mildly chaotic camera panning shots that disrupt things briefly.

Despite such imperfections, I enjoyed the DVD. It enshrines those precious, unrecorded symphonies, grants visual immortality to the Boston denizens, and serves up vital, energising readings. How often you will play it, however, is a question that only you can answer.

-- Jonathan Woolf, MusicWeb International

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Handel: Water Music; Mozart: Symphonies 36 & 38 / Munch, Boston Symphony
ICA Classics Feb 2012
DVD
~~$26.99~~ $20.99

Schubert: Piano Sonatas D. 959 And D. 960 / Hans-Jurg Strub [2 SACDs]

Ars Produktion

SACD

$32.99 Sep 18, 2020

A few weeks before Schubert's death in November 1828, the last two piano sonatas, A major D 959 and B flat major D 960, were written, which together with the C minor Sonata D 958 belong to the "Sonata Triad" - which can probably be called the crowning achievement of his piano work. Schubert's first draft shows how the thirty-one-year-old worked on these works simultaneously; also, the counting of B flat major as Sonata No. 3 is by Schubert's hand. The sonatas are thus cyclically arranged by the composer and have many compositional similarities. Schubert dedicated this triad to his famous contemporary, the virtuoso pianist and Mozart student Johann Nepomuk Hummel. However, it was not published until 1839 - 11 years after Schubert's death, by which time Hummel had already passed away, and so the dedication was transferred to Robert Schumann by the publisher Diabelli & Co. While the Impromptus or Moments musicaux were always very popular, the sonatas led a shadowy existence for a long time. In both sonatas we experience a wealth of different characters and contrasting emotions. The arc of tension leads from the greatest brightness to the deepest darkness, from powerful verve and chromatic turmoil in the Allegro of the A major Sonata to cantabile immersion and tenderness in the Molto moderato of B flat major. In the slow movements - the F minor Andantino in A major as well as the Andante sostenuto in C sharp minor in B flat major - a shattering sadness seizes us - indeed we experience deepest resignation and mental abyss. The wanderer Schubert is drawn to the abysmal.

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Schubert: Piano Sonatas D. 959 And D. 960 / Hans-Jurg Strub [2 SACDs]
Ars Produktion Sep 2020
SACD
$32.99

Symphony in E minor & Symphony in C major

CPO

$18.99 Oct 02, 2026

The strong visual power of the music is captivating, one commentator reported after he heard the first of two albums devoted to the four surviving symphonies of the "Rhineland music pope" Ferdinand Hiller (1811-1885). With the conclusion of this cycle - small in scale but remarkable in quality - Howard Griffiths and the Brandenburg State Orchestra Frankfurt (Oder) now present us with the earliest and the latest works in the series. Once again, it is not only the enthusiastic reviewer who will find much to enjoy. The Symphony in E minor is the passionately effervescent creation of an artist who has just turned twenty and wants to show the world all he has. The "Final Word", written four and a half decades later, exudes the self-confidence of a man who has long since "made it". He can look back nostalgically on the days of Mendelssohn and Schumann and still allow himself to write harmonic oddities without asking permission. Astonishing!

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Symphony in E minor & Symphony in C major
CPO Oct 2026
CD
$18.99

Mozart: Piano Concertos Nos. 21 & 24 / Levin, Egarr, Academy of Ancient Music

Academy of Ancient Music

$21.99 Mar 03, 2023

Academy of Ancient Music (AAM) resumes a celebrated project to record Mozart’s complete Piano Concertos, with this ninth volume released after an extraordinary 20-year wait. Together with renowned scholar-pianist Robert Levin, AAM presents Mozart’s Piano Concertos No. 21 in C Major K467, perhaps one of Mozart’s most well-known Piano Concertos and featured in films The Spy Who Loved Me and Elvira Madigan, and No. 24 in C Minor K491, described by Mozart scholar Alexander Hyatt King as ‘not only the most sublime of the whole series but also one of the greatest pianoforte concertos ever composed’. AAM’s founder Christopher Hogwood and Robert Levin came together in 1993 to record Mozart’s complete works for keyboard and orchestra for the first time ever on period instruments. Only eight albums out of a total of 13 were recorded, with the most recent released in 2001. This release marks the renewal of this landmark project and will be followed by the four final albums of the series later in 2023 and 2024.

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Mozart: Piano Concertos Nos. 21 & 24 / Levin, Egarr, Academy of Ancient Music
Academy of Ancient Music Mar 2023
CD
$21.99

Mozart: Piano Concertos, Vol. 4 / McDermott, Lang-Lessing, Odense Symphony Orchestra

Bridge Records

$18.99 Jan 07, 2022

The first three volumes of Anne-Marie McDermott's Mozart piano concerto cycle with Denmark's Odense Symfoniorkester have received ecstatic notices from the international musical press. Volume 4, again conducted by German maestro Sebastian Lang-Lessing, presents two of Mozart's very greatest concertos - the grand C major, K. 503, and the brooding D minor, K. 466.

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Mozart: Piano Concertos, Vol. 4 / McDermott, Lang-Lessing, Odense Symphony Orchestra
Bridge Records Jan 2022
CD
$18.99

Brahms: Sym 1 In C Minor Op 68 / Grieg: Peer Gynt
Cugate Classicos Latinos Mar 2018
CD
$26.99