To mark his debut on Deutsche Grammophon with the Philadelphia Orchestra, Yannick Nézet-Séguin pays tribute to his legendary predecessor on the podium, Leopold Stokowski. The transcriptions of Bach's organ music are among Stokowski's most celebrated achievements, and none is more famous than his expansive arrangement of the Toccata and Fugue in D minor, which was prominently featured in Walt Disney's Fantasia. It's a classic showpiece for the orchestra, as are Stokowski's fulsome orchestrations of the "Little" Fugue in G minor, and the Passacaglia and Fugue in C minor.

The seventh album by Lucas and Arthur Jussen at Deutsche Grammophon presents music for two pianos by Rachmaninov, Stravinsky, Shostakovich and Arensky. 'It's like driving a few BMWs', remarked conductor Michael Schønwandt after conducting Dutch brothers Lucas (26) and Arthur Jussen (22). Despite their young age, they have been part of the international concert world for years and are praised by both the press and the public. Not only did their albums have received platinum and gold status, they won several Edison Klassiesek Audience Awards, among others. With the album, the long-planned project to record an album with a beautiful, powerful and technically demanding Russian repertoire is now coming true.

This CD's title, Messe Noire, and its dark cover art may mislead some into thinking this album is filled with evil, forbidden things; but the only selection that suggests the diabolical is Alexander Scriabin's macabre Sonata No. 9, "Black Mass," and it comes at the very end, after Igor Stravinsky's light, neo-Classical Serenade in A, Dmitry Shostakovich's sardonic Sonata No. 2, and Sergey Prokofiev's witty but brutal knuckle-buster, the Sonata No. 7, which all have their dark moments, certainly, but not the same sinister mood found in Scriabin. If pianist Aleksei Lubimov's aim in bringing these Russian masterworks together points to some other unifying idea – perhaps the significance of the piano in these composers' thinking – then some other title might have been more helpful. As it is, though, this album seems most unified in Lubimov's vigorous style of playing, brittle execution, and emphasis on the piano's percussive sonorities, evident in each performance. This spiky approach works best in Prokofiev's sonata, and fairly well in Shostakovich's and Stravinsky's pieces; but it seems too sterile in Scriabin's music, which needs more languor and sensuous writhing than clarity or crispness.

This 5 CD boxset presents the complete set of internationally acclaimed violinist Hilary Hahn’s recordings for Sony. Contained are recordings of much-loved works such as Bach’s Partitas for Solo Violin, and concerti by Beethoven, Brahms, Mendelssohn, Shostakovich, and more – including the violin concerto written specially for Hahn by Edgar Meyer.

Pollini is so much a part of the contemporary music scene that it's amazing to realize that the earliest material on this disc (Stravinsky and Prokofiev) dates to the 1940s. These two performances retain their power to startle and amaze, both through Pollini's seemingly effortless virtuosity and through the immediacy of his musical conceptions. This Prokofiev is a close rival even to Richter's. Webern, from six years later, is so colorful and well organized that it makes the difficult music almost easy to listen to. Not many listeners will put up with Boulez's obscurities, but there is still plenty to make the disc worthwhile.

“The Beethoven concerto is a piece of overwhelming power,” says violinist Vilde Frang. “It is somehow more than music – the dimension of it feels almost cosmic. The force of this concerto takes me by surprise, over and over again.” Frang juxtaposes Beethoven’s epic, lyrical work with Stravinsky’s compact violin concerto, which pays spiky tribute to 18th century models. The conductor is Pekka Kuusisto, himself an adventurous violinist, in his role as Artistic Best Friend of the Deutsche Kammerphilharmonie Bremen. “It was the chamber musical qualities of the Beethoven concerto that provided the key for me,” says Frang.

The practice of performing music on original instruments was once the exclusive domain of early music specialists who sought to revive the characteristic sounds of Renaissance, Baroque, and Classical instruments and ensembles scaled to proper size. The so-called "historically informed movement" eventually expanded into re-creating 19th century music, which yielded some ear-opening performances; but this practice soon began to overlap with modern interpretation and instrumentation, so the actual differences between period and modern strings or winds were minimal.

Vladimir Jurowski was the London Philharmonic Orchestra’s Principal Conductor for 14 years from 2007–21, during which his creative energy and artistic rigour were central to the Orchestra’s success. This release captures three of his most memorable concerts with the Orchestra, tracing Stravinsky’s early creative journey from his youth amid the glittering fairytales of Imperial Russia through to those incredible moments in Paris when The Firebird and The Rite of Spring exploded in a blaze of rhythm and colour.

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.

From Charlie Parker to Piazzolla: the recorder as you've never heard it before! Lucie Horsch's new album 'Origins' is a collection of music rooted in folk cultures from all around the world, personally sourced and curated by Lucie, presented here in newly commissioned arrangements and transcriptions for the recorder. The tracks feature a variety of supporting musicians, including the trailblazing genre-bending collective Fuse Ensemble, a quintet from the GRAMMY Award-winning Dutch orchestra LUDWIG; acclaimed Scottish guitarist Sean Shibe; bandoneonist Carel Kraayenhof and Kora player Bao Sissoko.

The years have seen Pierre Boulez record for CBS, Erato, EMI, and Philips, among other labels, but his most consistent and critically praised work has appeared on Deutsche Grammophon, where he has conducted the Chicago Symphony Orchestra, the Cleveland Orchestra, the Berlin Philharmonic, and his own Ensemble InterContemporain in many successful performances. These ensembles are heard on this trimline, six-CD box set of Igor Stravinsky's major works, which brings together Boulez's recordings of L'oiseau de feu, Petrushka, Le Sacre du printemps, L'histoire du Soldat, the symphonies, concertos, and other works, recorded between 1980 and 1996. As one of the leading champions of modernism, first as a composer and essayist, then as a prominent conductor, Boulez is regarded as an authority on Stravinsky's oeuvre, and it is difficult to imagine many conductors who have a better understanding of the technical and stylistic issues that affect performances. Boulez is also famous for his precision and meticulousness, which make the details stand out clearly in the rhythmically complex and texturally dense orchestral scores of the ballets, and yet seem so delicate and exact in the concertos and pieces for smaller ensembles.

Under the baton of conductor Mark Scatterday, the Eastman Wind Ensemble celebrates its 60th anniversary with its first recording for Avie, a superb reading of Stravinsky's Octet, while the Eastman Virtuosi, with narrator Jan Opalach, deliver a devilish rendition of L'Histoire du Soldat.

This breath-taking new album features exceptional works by two of the most important and influential composers of the 20th century: The Violin Concerto No.1 by American minimalist composer Philip Glass and Igor Stravinsky's neoclassical Violin Concerto in D major.