This new double-album by pianist Lars Vogt, violinist Christian Tetzlaff and cellist Tanja Tetzlaff includes some of Franz Schubert’s (1797–1828) greatest works of chamber music, including his Piano Trios and the Arpeggione Sonata, in breath-taking interpretations. Franz Schubert wrote his two numbered Piano Trios, as well as the Notturno for piano trio, during the very last months in his life, in 1827 and 1828. Like Beethoven, Schubert’s final works in chamber music are masterpieces of great emotional depth. The famous Arpeggione Sonata (1824) and Rondo for violin and piano (1826) were written slightly earlier, but can also be counted among Schubert’s late works.

It’s a shame that Végh never recorded a complete Schubert symphony cycle: he was virtually unmatched as a conductor of classical period music. No one knew better how to float a melody (to hear his way with the opening of the Fifth Symphony check out my review of the dreadful Minkowski cycle). It was a combination of characterful phrasing, perfect balances, and (crucially) players encouraged to get involved in the interpretation and characterize their individual parts. In other words, these performances are true collaborations.

Even in an age of thrilling countertenors, Max Emanuel Cencic stands out for the heroic scale and brilliance of his voice, his expansive lyricism, and his imagination and enterprise in choice of repertoire. Cencic has excelled as both a soprano and a mezzo-soprano, and Fantastic Cencic showcases his extraordinary interpretative range – from the great and lesser-known masters of the Baroque to the bel canto of Rossini and composers of the Romantic era from Schubert to Strauss. The third of these three CDs comprises recordings from the early 1990s, shortly after Cencic left the Wiener Sängerknaben, which are released here for the first time.

The works of Schubert are central to Elisabeth Leonskaja's repertoire - and her interpretations of his work have been described as "essential". Born in the Soviet Union, where her greatest mentor was Sviatoslav Richter, she moved in 1978 to Vienna. She has said that: "In Schubert, there are things that any average Viennese person will understand better than I do … I, though, have to think about them carefully. In Schubert, profound matters are expressed with a lightness of touch."

This "collaborative exploration" of Schubert's String Quartet in D minor, D. 810 ("Death and the Maiden"), is experimental even by the standards of violinist Patricia Kopatchinskaja and the St. Paul Chamber Orchestra. It offers the Schubert quartet itself, in an arrangement for string orchestra by Kopatchinskaja herself, that preserves the original quartet forces in some passages; between its movements come other works by Augustus Nörmiger, John Dowland, Carlo Gesualdo, and György Kurtág, along with a piece of Byzantine chant, all of them on the theme of death and often making specific musical reference to the content of the Schubert.

A voyage of discovery through a lesser-known area of Schubert’s rich and prolific output, this collection comprises seven themed CDs: Transience; Love; Eternity; Heroism; Nature; Celebrations, and Circle of Friends. “Each disc has its share of the treasures,” wrote Gramophone, “The Arnold Schoenberg Choir is a fine body of musicians … they show a virtually unflawed beauty and opulence of tone.” Vocal soloists include Ruth Ziesak, Angelika Kirchschlager, Christoph Prégardien and Robert Holl, and among the featured pianists are András Schiff and Andreas Staier. This complete edition of Schubert’s secular choral works won major prizes in Germany, France, Belgium and Japan on its first release in 1997.

The gleaming smile in the cover shot belongs to a young mezzo-soprano coasting at the top of her game, thrilled at the chance to show off in the 400-year-old Teatro Olimpico in Vicenze. The cheers interspersed throughout this June 1998 concert are her adoring fellow Italians. Count yourself lucky to be able to join them and Cecilia Bartoli with a recording that faithfully reflects the scrumptious range of both her voice and emotional dynamics.

Eugene Istomin (1925–2003), one of America’s most respected pianists, was highly esteemed by audiences and colleagues alike for his mindful virtuosity and unusually wide-ranging repertoire. 2015 marks Istomin’s 90th birthday year, a milestone that Sony Classical celebrates with the first-ever release of his complete Columbia Masterworks concerto and solo recordings in a limited original-jacket collection including 10 previously unreleased studio recordings. Many of these performances appear in their first authorized CD editions, including the 19-year-old pianist’s recorded debut in Bach’s D minor Concerto led by Adolf Busch; his youthful concerto collaborations with Pablo Casals; Chopin’s complete Nocturnes; Brahms’s Handel Variations; Schubert’s D major D 850 Sonata, plus the long-out-of-print Rachmaninoff 2nd, Tchaikovsky 1st, Brahms 2nd, and Beethoven 4th and 5th (“Emperor”) Concertos with Eugene Ormandy and the Philadelphia Orchestra. Newly remastered from the original analogue tapes, the discs are presented in facsimile sleeves and labels corresponding to the original LP releases. An enclosed booklet offers full discographical information, an essay by Jed Distler, and a photographic retrospective.

Polish pianist Krystian Zimerman has been something of an anti-Gould, avoiding recordings in favor of live performances. This recording of Schubert's last two piano sonatas was done with a custom keyboard with which, Zimerman says, "the hammer strikes a different point of the string, enhancing its ability to sustain a singing sound – though it does also set up different overtones and the piano might sound strangely tuned."

This is a beautiful, heartwarming record. Schubert's part-songs, originally written for friendly gatherings at home, have never received the recognition they deserve, perhaps partly because he himself underrated them. Yet their extraordinary variety of mood, character, and texture, (often within a single song) and the inspired melodies, harmonic surprises, and magical modulations, are vintage Schubert.

After their acclaimed recording of the complete Beethoven symphonies in a new musical guise, a highly-regarded cycle of Richard Strauss's tone poems, the complete Mahler symphonies and a number of other musical projects with which they attracted widespread attention, David Zinman and the Tonhalle Orchestra Zurich now devote themselves to the symphonies of Franz Schubert.

Schubert’s famous Quintet needs little introduction, and is certainly the most famous work named after a fish. The commission came from Sylvester Paumgartner, wealthy mine-owner by day, amateur cellist by night, who not only suggested Schubert use his song, ‘The Trout’, for a set of variations, but also requested the unusual line-up of violin, viola, cello, double bass and piano. Unusual, but not unique, since Hummel had set the trend with his effervescent E flat Quintet and Paumgartner intended to feature the two pieces together in one of his regular soirées.

On this new release, the Doric String Quartet turns to the music of Franz Schubert. It is the Quartet's fifth solid release for Chandos. MusicWeb International said of the recent Korngold release, 'The Doric Quartet seem to have a Midas touch, and any repertoire they commit to disc comes out sparkling'. Their Schumann release was 'Recording of the Month' in Gramophone and BBC Music Magazine.

Dedicating an album to the dark side of the Lied might seem inappropriate in these times of Covid, climate change and refugee crises, but as a mezzo-soprano Olivia has always been drawn to the darker roles in opera, the sad arias in oratorio and the deep laments in song. After our recent recording ('Dirty Minds'), which focused on 'la petite mort', it seemed a natural progression to turn our attention to 'la grande mort'! Darkness in the outside world and the inner self has always been - alongside Love - one of the chief themes of vocal music, and compositions and songs about death are legion during every period of musical history.

Schubert’s enigmatic final collection of songs, Schwanengesang, is the subject of baritone Andrè Schuen and his longstanding accompanist Daniel Heide’s second release for DG. Baritone Andrè Schuen calls Schwanengesang “my greatest love among the Schubert lieder. Especially the Heine settings; they move me the most!” His admiration for the cycle dates back to a time before he had even become a professional singer: “It’s one of the first lied compositions I got to know. I remember a recording with Dietrich Fischer-Dieskau that I played over and over again.”