"I don't think I've ever heard Bronfman play better." - Gramophone

Originally recorded in 1988, this was one of the recordings that made historical performance practice the mainstream when it came to Bach's major choral works. Every moment of the mass was thought through anew, every bit of conventional piety purged. Major B minor mass recordings in the following years have developed one aspect or another further than conductor Philippe Herreweghe does here; Masaaki Suzuki's Bach Collegium Japan chisels out the counterpoint in greater detail, and for grand reverential warmth there's always John Eliot Gardiner. But for a constant sense of wonder that makes even the larger harmonic structure of the mass seem surprising as it unfolds – for a real sense of a group responding not only to a conductor's control but to his artistic vision – this reading by Herreweghe and his Collegium Vocale Ghent remains unexcelled.

This tenth volume of violin concertos marks the return of Julien Chauvin and his Concert de la Loge to the Vivaldi Edition, with works linked to Pisendel, a major musical figure in the court of Dresden in the 18th century. Julien Chauvin and his Concert de la Loge released a hugely successful volume of Vivaldi concertos with a theatrical theme in 2020. In this new album they perform works focusing on Johann Georg Pisendel (1687-1755), konzertmeister at the Dresden Court chapel, and pupil and friend of Vivaldi, who played a key role in the popularity of the Red Priest's music in Dresden.

There is much to enjoy in this forgotten (save for an aria or two), late (1878) Gounod opera. Essentially the same story as Donizetti’s Poliuto, its title character is a convert to Christianity under the Romans, and his wife Pauline tries to protect him. The Emperor’s envoy, Sévère, still loves Pauline, to whom he was once betrothed–but despite his hatred of Christians, Sévère is noble and tries to save Polyeucte. But the latter insists on making a public scene denouncing idols, and at the end, along with Pauline “who has been converted by the grace of God”, goes to his death in the public arena. Aside from a sappy baptism scene the likes of which would make the Massenet of Thaïs blush with shame, the opera is tuneful, with exciting arias and duets and an ensemble or two, although none of it remains very long in the memory.

This disc, very well recorded in 1984, presents the Fireworks music on period instruments but in the version that includes the strings. Pinnock later recorded the version that used a large wind band. The rest of this disc features two concertos for two horns which prove to be thoroughly entertaining.

This set gathers the Bach recordings released by Michel Chapuis for the French label Valois (now Naive) between 1966 and 1970. These highly regarded recordings were reissued by Naive in 1999 and soon became unavailable again. Faultless registration, dramatic flair, dazzling technique and pinpoint clarity in counterpoint make these recordings a cornerstone of any Bach and organ discography. The booklet includes a detailed index by BWV numbers and another by alphabetical order of titles.

In 1997, Marcel Pérès and his Ensemble Organum began a simultaneous exploration of the Mozarabic rite (the liturgical chant peculiar to the Christians living in Spain at the time of Arab rule) and of the Samaa spiritual practice of Morocco. Setting aside the theological differences between the two faiths, the artists discovered a great deal of kinship between the two forms of musical expression. A veritable utopia, the idea for this recording then suggested itself: through music, to regain the lost accord of human brotherhood.

Julie Roset, a young French soprano from Avignon, immediately attracted attention with her first recital for Ricercar (Nun danket alle Gott with Clematis) and went on to record a recital of works by Sigismondo d'India with Mariana Flores that met with great critical acclaim. In this new recording she tackles several of Handel's masterpieces on religious themes: his Salve Regina, Gloria and the motet Silete venti were all composed at the time when the young Handel had been inspired to new heights by his discovery of Roman musical life.

Belshazzar is one of Handel’s works that could be called a total failure at the time of its first performance. Premiered in 1745 to a nearly empty house, contemporary reports say that it was a disastrously bad performance. This oratorio never gained popularity in Handel’s lifetime, and he only performed it twice after the first performance. Yet this is no minor work. Full of great Handelian arias, and stirring choral movements, this oratorio deserves to stand among his greatest works. Drama and energy play like a flame through the pages of this work. It has everything a Handel oratorio needs: tension, excitement, and attractive melodies.

For the arch-Protestant Bach Family – as for German musicology in the 19th and early 20th centuries – through his conversion to Catholicism and his turning to Italian opera Johann Christian Bach was considerd the “black sheep” of the family. Prior to his brilliant career as an opera composer and impresario in London, from 1757 to 1760 he held the position of organist at the Milan Cathedral. During this period he composed numerous sacred works which are least well-known among the works of the youngest Bach son. Under the direction of Gerhard Jenemann, the renowned solo quartet centered around Joanne Lunn and Thomas E. Bauer, the Süddeutsche Kammerchor and Concerto Köln bring to light a completely unknown Johann Christian Bach and they make clear why the “London Bach” was also called the “Milan Bach.”

Sigismund Neukomm (1778-1858) was one of the most remarkable characters of the music scene in the classical and early romantic era. He started as a pupil of Johann Michael Haydn, and later had close ties with his older Joseph Haydn. During his life he came into contact with almost every composer of fame. He travelled throughout Europe, but didn't stay very long at one place. It is assumed he has written about 2,000 works. Among them are 50 masses, three funeral services and four Requiems.

In this unusual recording Andreas Skouras demonstrates the tremendous range of tonal and expressive possibilities offered by the harpsichord. The program is highly personal but also dramaturgically cogent: A selection from the sonatas of Domenico Scarlatti is juxtaposed with four works from the 20th century.

Composed for Venice in 1837, just a year-and-a-half after the fantastic success of Lucia di Lammermoor, Pia de' Tolomei "pleased altogether", in the composer's words. He revised it a couple of times thereafter and it was shown at various theaters as distant as Malta until 1855, after which it disappeared. It takes place in 13th-century Siena: Pia is married to Nello; his cousin Ghino loves her but she refuses his advances. Ghino angrily accuses Pia of adultery with an unknown man, who turns out to be Pia's brother, Rodrigo, and Nello imprisons her. Ghino eventually feels remorse and confesses his deception, but not soon enough to save Pia from being poisoned by Nello.

''Siroe'' (1728), the Italian opera that the huge popularity of ''The Beggar`s Opera'' drove from the London stage (and nearly ruined poor Handel), is hardly less fascinating. The plot resembles that of ''King Lear'' and is buoyed along by some of the most subtle and varied music Handel ever wrote for the theater. Again, the realization by members of Palmer`s ''stock company''

‘A dancer’s blood runs in my veins’ announces the heroine of Léhar’s Giuditta in the beguiling bolero-cum-waltz ‘Meine Lippen, sie küssen so heiß!’ which blazes into life around fifteen minutes into today’s Recording of the Week from Egyptian soprano Fatma Said, the Orchestre Philharmonique de Monte-Carlo and special guests including lutenist David Bergmüller, Quinteto Ángel and the vision string quartet.