The brief opening piece for chorus on this new release, "Da Pacem Domine," is based on a 9th century Gregorian work and has the usual, familiar–and very beautiful–Pärt-ian characteristics: a soft, endless stream of easy tritones and harmonies that make this plea for peace immensely moving. The major work, Lamentate, is scored for large orchestra and solo piano–a very unusual combination for Pärt. Even his fans will be surprised. In ten brief sections, it begins with a quiet drum roll, immediately followed by horn calls. There are forte explosions for full orchestra and piano, with heavy percussion. At times the only thing we hear is a hushed piano part with strings supporting very quietly. The effect is dark yet alluring. It ends peacefully. This is another stunning CD of Pärt's music for his fans–old and new.

Roger Norrington legt Wert auf einen stets schlanken, dabei aber ausgesprochen erfüllt klingenden Verlauf der Musik - erfüllt im praktisch-klanglichen Sinn, aber auch von der religiös-poetischen Dichte her gesehen. Der wuchtige Eindruck entsteht aus der Intensität jedes musizierten Augenblicks. Obwohl das Klangbild ein wenig wie aus der räumlichen Tiefe kommend wirkt, klingt alles durchsichtig und im über weite Strecken engverzahnt geführten Stimmenverlauf sehr gut gestaffelt und geordnet. Bei der technischen Ausführung bleiben keine Wünsche offen. Ausgezeichnet präsent und intonationssicher bis in die gefürchteten Extremlagen singen die beiden Chöre aus Hamburg und Stuttgart, großartig ausbalanciert spielt das Orchester, eingeschlossen das von Hans Kalafusz völlig uneitel-linear und leicht gebotene Solo im Benedictus, und die vier Solisten bilden ein bestens zueinander passendes Quartett, in dem jeder im günstigsten Licht erscheint.

The Mussorgsky Pictures is the most unusual and most interesting reading of the set. Starting with a carefully molded legato opening trumpet tune, Celibidache puts forth an amply lyrical interpretation, one awash in warm, glowing orchestral colors that, unlike in his Scheherazade, do not get lost in the wash. Every number receives special attention to its particular nuance, Bydlo being just one example, while the finale’s grand solemnity (and massive slowness) makes for a truly moving conclusion.

Giuseppe Sinopoli was a conductor quite versed in Mahler’s music. He left recordings of all the Mahler symphonies made for Deutsche Grammophon (DGG). It is well known that each of these performances is on the highest level. So it is natural that most listeners think these Mahler recordings are the last word of Sinopoli’s interpretation.

The 150th anniversary of Charles Koechlin's birth in November 2017 is marked by the reissue of all the Koechlin recordings made by the Sudwestrundfunk. This release of Koechlin's orchestral works includes many world premiere recordings and gives a comprehensive overview of Koechlin's output- from the early orchestral songs to his orchestrations of works by other composers and to his huge later works. Koechlin's compositional style was very subtle, full of delicate, colorful combinations of instrumental sounds. Many of his colleagues allowed him to orchestrate their works, simply because Koechlin was a master of the art.