A leader in music of the Classical and early Romantic periods, the Tasmanian Symphony Orchestra enjoys a high profile nationally and internationally through its world-wide broadcasts and award-winning recordings. Winner of backto- back ‘Best Classical Recording’ limelight Awards in 2007 and 2008, the TSO is the only Australian orchestra to have released recordings of the complete symphonies of Beethoven and Schumann. The TSO also champions music by Australian composers, and the Australian Music Program, founded in 2003, is one of the TSO’s key initiatives. To date, the TSO has released on the ABC Classics label 18 CDs featuring works by Australian composers ranging from Peter Sculthorpe and Richard Meale to Elena Kats- Chernin and Brett Dean. The TSO, which is resident in Hobart’s purposebuilt Federation Concert Hall, has a full complement of 47 musicians. Declared a Tasmanian Icon in 1998, the TSO enjoys a high level of support among the Tasmanian community.

In this recording, the Neave Trio celebrates Piazzolla’s rich legacy through arrangements, by one of Piazzolla’s long time colleagues and by a younger protégé. “All three of us wear many musical hats, emulating other sounds and instruments. Sometimes we provide percussion.” Anna Williams states that, “at times we were inspired by the sounds of bandoneón, accordion, guitar, viola, and double bass.” Within the supposed confines of a traditional piano trio, this performance evokes a larger, more diverse family of instruments. Since forming in 2010, Neave Trio – violinist Anna Williams, cellist Mikhail Veselov, and pianist Eri Nakamura – has earned enormous praise for its engaging, cutting­edge performances. WQXR explains, "'Neave' is actually a Gaelic name meaning 'bright' and 'radiant', both of which certainly apply to this trio's music making." The Boston Musical Intelligencer included Neave in its “Best of 2014” and “Best of 2016” roundups, writing, “it is inconceivable that they will not soon be among the busiest chamber ensembles going,” and “their unanimity, communication, variety of touch, and expressive sensibility rate first tier.”

The term ‘living legend’ is genuinely apt to Martha Argerich, whose dazzling amalgam of virtuosity, insight, eclecticism, generosity and mystery makes her a pianist of unrivalled fascination. Argentinian-born, Viennese-trained, and winner of the 1965 Chopin Competition, she became a sometimes elusive figure whose every appearance and recording aroused eager anticipation. This collection presents Argerich in solo works, concertos and chamber collaborations.

Trumpeter-singer Brian Newman will release Showboat, his first album for the famed Verve label, on 16 November. It features his close friend Lady Gaga on a version of the Animals’ much-covered ‘Don’t Let Me Be Misunderstood.’

The music on this album gives rise to two intriguing questions. Firstly, are these concertos original Bachian creations? Secondly, should they be played on modern pianos. The two issues are in fact closely linked by the idea of transcription.

This stylish and elegant modern-instrument recording rounds off Znaider’s cycle of Mozart’s complete violin concertos—the product of an audibly fruitful musical partnership with the LSO. A greatly slimmed-down orchestra plays with nimbleness and delicacy while Znaider—using his gorgeous-sounding “Ex-Kreisler” Guarneri violin (on which Elgar’s concerto was premiered)—gives these youthful works lightness and grace that melt the heart. The Third is the best-known work here and justifies its popularity with a performance of spirit and great charm.

This live recording features the New Jersey Chamber Singers 40th Anniversary concert celebration. The program is anchored by the Mozart Requiem and also features festive works of Bach's Reformation Cantata, Ein feste Burg, because 2018 also marked the 500th anniversary of the Lutheran Reformation. While it is more common to hear these works performed by larger ensembles, this historically-informed performance honors the repertoire's intimacy by only employing 32 voices and a similarly sized orchestra. All three pieces on this album were touched by hands beyond those of their composers. While many purists have worked extensively to cleanse iconic works of foreign elements, this performance embraces them. Bach's Ein feste Burg proudly features the extra parts for three trumpets and timpani added by his son, Wilhelm Friedemann Bach. Haydn's Te Deum was written for Empress Marie Theresa even though he was employed to write music for the Esterhazy court in Eisenstadt. Even though the complete autograph is lost, trombone parts were later discovered to have been written in the hand of his copyist, Johann Elssler.

The violin was Edward Elgar’s own instrument and his Violin Concerto is almost like a personal confession: it was ‘too emotional’, Elgar admitted, adding that he loved it nonetheless. The solo part is one of the most exhausting in the repertoire – a veritable compendium of bravura violin techniques. In an interview, Fritz Kreisler, to whom the Violin Concerto is dedicated, ranked Elgar with Beethoven and Brahms. Elgar met the challenge: his Violin Concerto combines the singing quality of Beethoven with the symphonic drama of Brahms.

Released in the year of Claude Debussy's death centenary, this album demonstrates the exceptional harmonic and colouristic richness of his music. Centrepiece of the album is La Mer (1903-1905), a musical realization of the composer's "sincere devotion to the sea" that revolutionized orchestral composition in the early twentieth-century.

Capitol/UMe has delighted the countless millions of fans of two global superstars with the release of the “lost album” Glen Campbell Sings For The King.

Joël Grare, percussionist and tireless seeker after offbeat sounds and instruments, here presents his third album for Alpha: ‘Footprints beneath the snow: first sounds of innocence, cowbells and jingle-bells, sounds swallowed up by the mountain’… Through his compositions and inspirational influences (Debussy, Bartók) he follows a dizzying emotional Alpine path, along with his amazing instruments: drums, balafon, melodica, sanza, cowbells of all sizes, Japanese drums, trompiki, rainstick, thunder sheet – and his famous ‘clavicloche’

Alexei Lubimov is one of the most admired pianists of his generation, particularly for his exploration of rarely-played repertoire on period instruments. Together with his disciple, harpsichordist and pianist Olga Pashchenko, a rising star of the new generation, and accompanied by the musicians of the Finnish Baroque Orchestra, they embark on a voyage of discovery into the music of Czech composer Jan Ladislav Dussek (1760-1812), with world premiere recordings on period instruments of his Concerto for Two Pianos and Notturno concertant. A trailblazing early romantic composer, Dussek created an innovative piano music style marked by a harmonic richness and intense emotional expressivity.

Porpora: Christmas Oratorio - Il verbo in carne is the new album from the sensational Kammerorchester Basel which rediscovers the exceptional Christmas oratorio which made it’s premiere 271 years ago. Under the direction of Riccardo Minasi, the Kammerorchester Basel—alongside excellent singers Terry Wey, Martin Vanberg and Roberta Invernizzi—shine light on this beautiful masterpiece from the Neapolitan School which was first heard in 1947. This recording showcases the most outstanding parts of the Christmas oratorio. This oratorio tells the story of Christmas through the use of unique allegorical figures. These are Peace, humanity, Justice and Truth. The Kammerorchester Basel is one of the worlds leading chamber orchestras with a worldwide presence.

Star tenor follows critically acclaimed Deutsche Grammophon recording of Mozart’s La clemenza di Tito with his first Christmas album for the Yellow Label Feliz Navidad extends great tradition of seasonal albums by Fritz Wunderlich, Luciano Pavarotti, Plácido Domingo and Bryn Terfel.

Seong-Jin Cho’s artistry probes multiple musical layers of three Mozart masterworks.