Herbert von Karajan was the most renowned conductor to emerge from Europe in the post-World War II era – and through fortuitous timing throughout his career, and in spite of controversy that dogged his early years, he was the most recorded conductor of the 20th century, and is likely to remain one of the most visible (and biggest-selling) conductors well into the 21st century.

On their newest recording for Glossa, Graindelavoix and Bjorn Schmelzer present a fascinating array of Renaissance motets based on the theological concept of creatio ex nihilo, creation out of nothing, as exemplifed in the mystery of the Incarnation, the idea of God becoming a man. Well- known pieces like Josquin Desprez's Praeter rerum seriem are combined with less famous works by the same composer, and very fne contributions by Obrecht, Ockeghem, Ribera and Wert. Bjorn Schmelzer bases his intriguing approach to the performance of these pieces on a 1561 quote by the Flemish Protestant pedagogue Johannes Molanus: "[Mensural polyphony] is a singing without sense or content, in which the voices are resounding emptily in so-called proses, motets, and artifcial songs in foreign languages, ornamented for the delectation of the ears, which have no meaning that could be understood even by the singers themselves."

Bach’s music has always attracted arrangers and orchestrators – such as Stokowski, Elgar and Busoni, to name just three. Regardless of its original version, Bach’s music has an expressive power, drama and architectural logic that lend themselves well to expanded orchestral sonorities. Bassoonist and conductor Robin O’Neill buried his head in the Goldberg Variations, which he had discovered through Glenn Gould’s recordings, during the first months of the Covid lockdown. Soon after that, the idea of making an arrangement for orchestra began to obsess him as he began hearing instrumental and orchestral sonorities in the keyboard work. Since the main challenge was to reclothe the music without damaging the subtle intricacy of the piece, and after much thought and experimentation, O’Neill chose instruments that Bach himself would have recognized for the solo parts. His reinterpretation of the Goldberg Variations offers a mixture of full orchestral variations interspersed with concertante ones involving two, three or four solo instruments, at times close to St Matthew Passion-style writing. Completed during a difficult period, this arrangement was made, in the words of O’Neill, in the hope that it expresses the joy and solace that Bach’s music gives both performer and listener.

This sensational recital—featuring some of the greatest keyboard music to emerge from these islands—is the perfect vehicle for Mahan Esfahani’s abundant talents. His accompanying booklet notes are an added bonus, guaranteed to inform, illuminate and provoke by turns.

The 1st and 9th complement each other perfectly, and this original pairing of the 9th with an equally fine performance of the 1st is a delight. The playing and acoustic of the Philharmonic is not as glorious as that of the Concertgebouw in some of Haitink's other Shostakovich recordings, but they acquit themselves quite well, capturing equally the light and the gloom, playfulness and tragedy, lyricism and satire that run through these both works.

Vivaldi's The Four Seasons is one of the most famous works in music history, often reinterpreted in various ways. This recording, led by Ragnhild Hemsing with the Norwegian ensemble Barokkanerne, reimagines the concertos by playing them on a Hardanger fiddle and infusing them with Norwegian folk music traditions. The result is a unique blend of Italian Baroque and Norwegian folk music, highlighting the unexpected similarities between the two, such as ornamentation, improvisation, and rhythmic swing.

The great baroque composer George Frideric Handel’s final masterpiece! Recorded live in September2022 by multi-GRAMMY®-award winning engineer Christopher Willis, conducted by Dame Jane Glover, and performed by Music of the Baroque- Chorus and Orchestra. Now in its fifth decade, Music of the Baroque is one of the leading professional ensembles in America devoted to 17 th and 18 th -century works. The Chicago Sun-Times writes, “Lyric Opera of Chicago and the Chicago Symphony Orchestra may be the big guys on the local classical music scene, but in terms of sheer quality of performance…Music of the Baroque inhabits the same stratosphere.”

Dans la chanson française, il existe une petite famille d'artistes qui viennent du monde de la musique classique. Catherine Lara en est, au même titre que William Sheller, Véronique Sanson, Michel Polnareff. Cette parentèle artistique se caractérise entre autres par un haut niveau d'exigence musicale appliqué à cet 'art mineur' cher à Serge Gainsbourg. Après avoir raflé des récompenses de haut vol avec son violon, Catherine Lara se laisse convaincre en 1971 par Denis Glaser (créatrice de Discorama qui verra éclore tant de talents) de se lancer dans la chanson. Signée chez CBS, Catherine sortira 8 albums de très haute tenue artistique entre 1972 et 1980. Seulement 3 d'entre eux furent réédités en CD.

This Boundary-Challenging new recording of Beethoven’s complete Sonatas for Piano and Violin features the acclaimed duo: violinist Shunske Sato and pianist Shuann Chai.How far can you push Beethoven’s music? What’s the breaking point? Is there one? Shuann Chai (fortepiano) and Shunske Sato (violin) delve into this wonderful world of emotionality and arresting drama, inspired by the wealth of writings by and about Beethoven. Embracing historical sources and performance practices, they seek to inhabit and unleash the magic and message that these sonatas, even after two centuries, can move us with.The motivation to make this recording arose when Shunske Sato and Shuann Chai played all Sonatas as a mini-marathon. It turned out to be a worthy endeavor: they got tremendously positive feedback. This recording allows them to share ‘their’ Beethoven with even more people.

The booklet for this fine disc from Montreal includes a wonderful characterization of Alessandro Scarlatti's music, especially of the cantatas recorded here. "His music's eloquence," wrote French pedagogue Ennemond Trillat, "does not implore; it stems from that spiritual intoxication which is the very essence of the Baroque. And this music sings without phraseology. It is free of all extrinsic intent, and its lyricism produces perfect forms. Its fluid grace is essentially melodic, but without a trace of exuberance."

The keyboard works of François Couperin – the most famous of the 18th-century clavecinistes – have never enjoyed quite the same popular revival as those of Scarlatti and Bach. No doubt Couperin’s comparative neglect is due partly to the fact that his intricate ornamental lines transfer awkwardly to the piano; but it is also true that the surface naivety and understated virtuosity of many of his pieces belie their musical substance.

This live recording of the concert of 31st March 1985 document the performances of the Passion which have been given annually by Nikolaus Harnoncourt and the Concertgebouw Orchestra for ten years now.

If I've ever owned a recording of an orchestral work by Vincent D'Indy I don't recall it. Nor do I remember ever hearing anything of his in the concert hall. I've heard a recording of his 'Symphony on a French Mountain Air', of course, and vaguely recall hearing something from his opera 'Fervaal', but that's about it. I knew of him primarily as co-founder of the Paris Schola Cantorum and as a guardian (and teacher) of conservative compositional techniques, stemming from his study with Franck and his admiration of Wagner. I was not, therefore, prepared to be particularly impressed by anything of his. But this recording of three of his works the Second Symphony, 'Tableaux de voyage' suite, and 'Karadec' – has shown me that he was indeed an interesting and engaging composer.

This well recorded disc from 1987 delivers truly exciting performances of all three works in typically crisp manner by Zimerman. Ozawa and the Boston orchestra give excellent support. The emphasis here is on excitement largely created by fast speeds delivered with clarity. The more gentler parts of all three works are played with due regard to sensitivity but there is no denying that in these recordings these works are seen as primarily as virtuoso display works and that is what we are given.

The notes to this recording suggest that Ture Rangstrom's 2nd symphony, subtitled "My Land", is his least-played symphony because it speaks in a nationalistic language that is an anathema to Swedes. If true, it's too bad because this is a wonderful piece, full of northern, though not distinctly Swedish, atmosphere. Unlike the 1st symphony, which is written in a tense style full of Wagnerian chromaticism, the 2nd symphony limits itself to more diatonic harmony which makes it easier listening. Like his previous effort, Rangstrom builds his movements out of short themes (& chordal sequences), but his melodic inspiration is on a higher level here. That combined with his distinct ability to create atmosphere results in a memorable piece that really ought to occasionally replace Sibelius' first two symphonies in concert.