Ashkenazy and Gavrilov give a full-blooded performance, rhythmically incisive and with every minute gear change and every nuance finely judged. Without doubt, this has to be one of the most satisfying, nay galvanizing, two-piano recitals I have had the pleasure of sampling for a long time. Ashkenazy and Gavrilov commence proceedings with a rhythmically taut, crisply articulated account of the rarely heard two-piano arrangement of the Scherzo a la russe. Originally intended as music for an abortive project for a war film, the Scherzo is more frequently heard in either its orchestral or jazz ensemble versions, but as Ashkenazy and Gavrilov so persuasively prove there is much to be said for more than an occasional airing in Stravinsky's own arrangement for two pianos.

Drummer Jack DeJohnette, now four releases down the road with his Golden Beams label, turns to the archives for this historic live set with Bill Frisell. The guitarist first heard DeJohnette's music as a teenager in the '60s, though it took some time before they would first perform together on Don Byron's Romance with the Unseen (Blue Note, 1999). They embrace a shared musical vision with one ear to the ground, digging the groove, and the other wide open to the possibilities of spontaneous invention in the moment.

Jory Vinikour's two discs of the keyboard works of Rameau actually contain more than Rameau himself published, including a barn-burner of a finale. In addition to Rameau's five published suites, Vinikour included Rameau's transcriptions for solo harpsichord of selections from the chamber work Pièces de clavecin en Concert; a couple of pieces published separately from Rameau's collections; a piece ascribed to Rameau; and a transcription by Claude Balbastre – another keyboard wizard of the age – of the overture to Pigmalion.

Four Concerti Grossi - the embodiment of joyous music making. Four journeys into the past to link a modern musical language with characteristic aspects of Johann Sebastian Bach, Antonio Vivaldi, and fancifully abstruse the historical figure of Dracula. Everything is tongue-incheek, but artfully assembled and full of sly double meanings. The Concerto Bach-Metamorphosen not only plays with the famous four notes B-A-C-H, but also shares the radicalism and noncompromising nature of Bachs aesthetic principles.

Dream Keeper’ is a high-class and innovative set of originals that marks the first major international release from Portuguese guitarist and composer Andre Fernandes. ‘Dream Keeper’ is a career defining album that draws together Andre’s strengths as composer, player and bandleader, with the help of a stellar cast of musicians, into one coherent and well-executed album. ‘Dream Keeper’ confirms Andre’s promise and offers him an opportunity to approach a global audience and ignite a glowing international career.

At a time when a growing number of pop songwriters were embracing a more explicitly poetic approach in their lyrics, the 1967 debut album from Leonard Cohen introduced a songwriter who, rather than being inspired by "serious" literature, took up music after establishing himself as a published author and poet…

If you have ever had any curiosity as to what the piano music of German-Danish composer Friedrich Kuhlau sounds like, this Naxos disc will more than likely satisfy it. Containing the three Sonatas, Op. 59, and the three Sonatinas, Op. 20, in masterful performances by Hungarian pianist Jeno Jando, the disc will reveal a composer deeply indebted to the high classical style of Haydn and Mozart. While the Opus 59 Sonatas are in two movements each and the Opus 20 Sonatinas are in three movements each, they are uniformly light and delightfully lyrical works intended to instruct a player and entertain an audience.

Only spanning Accept's early years, up to their breakthrough release Restless and Wild…