Featuring two of the most prominent European classical musicians of their time, ZINO FRANCESCATTI & ROBERT CASADESUS features both individual performances and duets. Francescatti was perhaps the finest violinist of the mid-20th century; coming from a family of musicians, he was a child prodigy who gave his first concert at the age of five. Casadesus also came from a musical background, and won acclaim throughout his career as a technically perfect pianist and fine classical composer. The pair collaborate here in performances of works by Beethoven, and individually perform work by composers as diverse as Debussy and Bazzini.

Founded in 1981, the Orchestra of the Eighteenth Century consists of approximately fifty-five musicians from all over the world. The orchestra is specialised in the music of that era and the musicians play on period instruments or copies of them. This spectacular rendition of Beethoven’s „Symphony No. 3“, live recorded at the Concertgebouw in Amsterdam, has won them international acclaim. Beethoven originally dedicated the „Eroica“ (1804) to Napoleon, who at the time was re-drawing the map of Europe as comprehensively as this epic symphony was to re-define the architecture of music. It was only belatedly that the composer realised that ‘heroes’ with absolute political power easily turn into tyrants and tore up the dedication.

Günter Wand (1912-2002) left us dozens of gramophone records: complete symphonic cycles and impressive live recordings of his concerts with the NDR Symphony Orchestra and the Berlin Philharmonic. The archetypical anti-star all his life and for that very reason under-appreciated, this conductor only attained international recognition in his old age as an unequalled interpreter of classical music. Accordingly, most of these multiple-award-winning benchmark recordings date from his later years. Wand's music-making moved those who heard it with its impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as "serving music", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true "greats" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality.

Translucence, transparency – warmth' are the qualities identified by Bernard Haitink as necessary for an ideal sound performance of Beethoven's only opera, and all are present in this fantastic recording of Katharina Thalbach's new production for Opernhaus Zurich. Haitink conducts the Zurich Opera Orchestra in a magnificent performance in which Leonore Overture No. 3 provides an interlude between the two scenes of the second act, following a tradition started by Gustav Mahler.

The French division of the massive EMI corporation has released a compendium called Les Introuvables de Dietrich Fischer-Dieskau (EMI 68509, six CDs), and it contains so much outstanding material that one feels churlish complaining about what it lacks. But here we go. These six discs contain more than 125 lieder, ballads, cantatas and songs – primarily in German, but also in French, Italian, Latin and English – recorded mostly in the 1950s and '60s when Dietrich Fischer-Dieskau's voice was one of the wonders of the musical universe.

Few chamber music groups have as proud a history as the Smetana Quartet, or a history that evokes as much nationalistic passion. Founded during the Nazi occupation of Czechoslovakia, the group's very existence was an anomaly during an era when any manifestation of Czech nationalism was outlawed. They survived into the post-Nazi era, and went on to an acclaimed international performing career, making some of the finest chamber music recordings of the 1950s and 1960s…

Gerard Willems is one of Australia;s finest concert pianists and Beethoven scholars. He has recorded all the Beethoven sonatas and concertos and has chosen to record the Diabelli on the Australian designed and built Stuart and Sons piano. This instrument features an extra 2 octaves, producing an enhanced resonance and unrivalled sound.

This live Appassionata, from a Moscow recital of 1959, is one of the most thrilling piano performances ever recorded. Sviatoslav Richter fills every moment of the first movement with intense drama, creates the illusion of total repose in the central variations, and then takes off in the finale with an exhibition of musical virtuosity and ever-increasing tension that becomes almost unbearably intense (and unbelievably fast and accurate). The studio Pathétique is quite fine, and the Fantasy (sung in Russian!) well performed by all but still rather quaint in its effect. But don't miss that Appassionata!

Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.

This DVD presents Seiji Ozawa conducting two great choral masterpieces, beloved by audiences around the world. Orff's Carmina Burana, boisterous and lyrical, sets medieval songs in a celebration of life's pleasures. Beethoven's monumental Ninth Symphony, concludes with the uplifting 'Ode to Joy', a timeless plea for universal brotherhood.

George Szell owned the First Piano Concerto. He played the opening movement like no one else, and he recorded the work with three outstanding pianists: Sir Clifford Curzon, Rudolf Serkin, and this performance with Anton Fleischer. When I say this is the best of the three, I'm making a tough choice, but Fleischer brings a youthful vigor and rage to the music that complements Szell's fiery accompaniment so well that they sound like they're both performing from the same musical brain.

Karajan surmounted this pinnacle of the choral-symphonic repertoire - which Beethoven himself called "the greatest work I have composed" - no fewer than four times in the recording studio, but only once live and on film: in this unique document from the 1979 Salzburg Easter Festival. The atmosphere of Salzburg's Festspielhaus and festival audience adds a special frisson to this conductor's classic interpretation of the Missa solemnis.

"Hope Amid Tears," the new album by Yo-Yo Ma together with his friend and pianist Emanuel Ax, presents Beethoven’s five sonatas for cello and piano in the order in which they were composed, tracing an important arc in Beethoven’s development and approach as a composer. Joining them are Beethoven’s three sets of variations for cello and piano.

After a successful trilogy devoted to the concertos and trios of Schumann, Freiburger Barockorchester and Pablo Heras-Casado could not ignore one of Beethoven's most unusual works: the Triple Concerto. Alongside Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov, they bring this score to life as only true chamber musicians can, revealing it's subtlest colors and balances. The trio transcription of the Second Symphony, which was supervised by the composer himself, judiciously completes this exploration of lesser-known Beethoven, in which intimacy mingles with grandeur.