The lyrical element is the essence of Prokofiev's nature, whether it be that of the man or of his music and it is deliberately that he chooses to turn it to derision, to make it grotesque, to disfigure it. Through all the distortions, dilations, sudden stops and about-faces that the composer subjects them to, his themes and harmonies remain essentially lyrical.

Another superb addition to Matthias Bamert's splendid series of recordings with the BBC Philharmonic of the orchestral music of Ernst von Dohnányi, this 2004 disc brings together three concerted works from the composer's early years in Tallahassee, FL. But although they were composed between 1946 and 1952, the Piano Concerto No. 2, the Violin Concerton No. 2, and the Concertino for harp and chamber orchestra all sound as if they could have been written between 1896 and 1914 in Budapest, Hungary: although war and fascism had driven Dohnányi from his place and time, it did not drive from him his place and time. Indeed, the works on this disc are just as tuneful and romantic as Dohnányi's earlier works and anyone who enjoyed them will enjoy these.

The last of his orchestral compositions and one of his most enduringly popular pieces, Mendelssohn's violin concerto is as much a crowd-pleaser now as it was when premiered by Ferdinand David and the Leipzig Gewandhaus Orchestra in 1845. Its unassuming focus on melody and dynamic interaction between soloist and orchestra – rather than merely on technical feats and virtuosic showmanship – ensures its place at the heart of the violin concerto repertoire.

Born in 1885, Alban Berg was one of the most significant composers of the Second Viennese School, whose output proved tremendously influential in the development of music in the twentieth century. He was a student of Schoenberg, who found that his juvenile compositions were almost exclusively written for voice; his natural ability to write lyrical melodic lines (even in later life while following the restrictions of twelve-tone serialism) probably remained the most outstanding quality of his style. His Op. 1 Piano Sonata was the fulfilment of a task set by Schoenberg to write non-vocal music. The Passacaglia, written between the sonata and World War I was only completed in short-score, and may have been intended to form part of a larger work. Both pieces are recorded here in skilful orchestrations by Sir Andrew Davis. The Three Orchestral Pieces were composed alongside his first great masterpiece, Wozzeck, and could be seen as a tribute to his musical hero, Mahler.

Multi award winning Canadian violinist James Ehnes returns to the greatest body of work for solo violin: Bach’s 6 Sonatas and Partitas.

Multi award-winning violinist James Ehnes recorded this album during lockdown at his home. Recording commenced in the early hours of the morning when all was quiet in the house. The solo violin, recorded in the small hours during these troubled times, makes for a powerful and intimate listening experience. Ysaÿe’s six sonatas for solo violin are, together with JS Bach’s Sonatas & Partitas, the most important extended works for the solo violin. Ysaÿe composed each one of them with a particular violinist in mind, capturing their personality and characteristics of their playing.

The second volume of the Beethoven 'Violin Sonata' cycle, from James Ehnes and Andrew Armstrong, follows the critically acclaimed release of 'Sonatas Nos. 6& 9, 'Kreutzer'. This album contains the three early 'Op. 12, Sonatas' (which Beethoven dedicated to his teacher Antonio Salieri) and ends with the early 'Variations on a Theme From Mozart's Marriage of Figaro'.

Known for his virtuosity and probing musicianship, violinist James Ehnes has been honored with many international prizes, including a GRAMMY, a Gramophone Award, and eleven JUNO Awards.
About this essential album in the Analekta discography : "Bach’s solo violin music has always very dear to my heart and central to my performing repertoire. Being able to record these monumental works early in my career was a rare privilege, and I will always be grateful to Analekta for giving me this wonderful opportunity. Though my interpretations have evolved over the years, and will continue to evolve throughout my life as I evolve myself, it gives me great pleasure to revisit these recordings and remember with pride the incredible journey of recording these masterpieces." James Ehnes

The intelligence, sensitivity, and innate musicality distinguishing violinist James Ehnes' terrific unaccompanied Bach carries over to his first volume of the composer's sonatas with harpsichord. What immediately strikes you is the ideal balance between Ehnes and harpsichordist Luc Beauséjour–not just sonically speaking, but in how they effortlessly proportion their phrases and perfectly synchronize trills, turns, and other ornaments. Beauséjour's discreet and effective registrations complement the subtle variations in Ehnes' tone, especially in slower, sustained writing (the quicker-than-usual A major sonata's Andante is a good example).

This is music to lift the spirits, all of it crafted with Hummel's infallible taste, grace and unpretentious early Romantic sensibility' As on previous discs in this Chandos series, the playing is beautifully judged in scale, neither understating the music's virtues not over-egging its charm.