This well recorded disc from 1985 delivers impressive readings of both of these works. Mullova takes a very individual view of these concertos and has the technical assurance to communicate her view with compelling certainty.
The Tchaikovsky concerto is played in the full uncut version that was written by the composer. This is now becoming more common but in 1985 was still unusual enough to warrant comment. By playing the notes as Tchaikovsky had intended Mullova signals a very serious intent which she carries out throughout these two concertos.

Seiji Ozawa had a fondness for more modern compositions; his efforts on this 1982 release showcase his versatility by recording one of the finest performances of The Four Seasons in history, and the standard by which many future recordings would come to be judged. With over 500,000 albums sold since its release, it’s no wonder that this recording would be chosen as one of the initial four vinyl releases by Craft Recordings. Pressed on 180-gram vinyl and pressed by Optimal in Germany.

Korean pianist Seong-Jin Cho releases the second album from his current Ravel project of the two piano concertos, celebrating the 150th anniversary of the composer’s birth (March 7). The album features the Concerto for the Left Hand, a notoriously difficult work that is notable for its dark sonorities, as well as the more lighthearted Concerto in G major that achieves an exquisite combination of jazz and the Classicism of Mozart and Saint-Saëns.

Andris Nelsons is the Music Director of the Boston Symphony Orchestra and in fall 2015 he was announced as Gewandhauskapellmeister of the Gewandhausorchester Leipzig, commencing in the 2017/18 season. With both appointments, and in leading a pioneering alliance between these two esteemed institutions, Andris Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today. The goal is a complete Shostakovich cycle on Deutsche Grammophon with the Boston Symphony Orchestra. This recording provides a kaleidoscope of Shostakovichs struggle with historical events and political pressures. The pre-war eclectic but accessible and popular 5th, in which he would seem to bow to political pressure, ensured his temporary rehabilitation. The beautiful but dark and gloomy mid-war 8th provoked yet again his fall from favor and instead of providing the political authorities with a triumphant post-war 9th Symphony, Shostakovich wrote a light Haydnesque work which would not be performed until after Stalins death. Selections from the Hamlet Suite, possibly Shostakovichs best film score, rounds out this 2 CD set.

The "Under Stalin's Shadow" subtitle of this release may be confusing inasmuch as the opening Passacaglia from the opera Lady Macbeth of the Mtsensk District dates from before the period when Stalin made Shostakovich's life a living hell, and the main attraction, the Symphony No. 10 in E minor, Op. 93, was finished ten months after Stalin's death. Actually the album is the first in a set of three; the others will cover the symphonies No. 5 through No. 9, all written during the period of Stalinist cultural control. But even here the theme is relevant: the pieces are linked by a dark mood that carries overtones (of a feminist sort in the case of the opera) of repression. And the Symphony No. 10 is decidedly some kind of turning point, with repeated (and finally triumphant) assertions of the D-S-C-H motif (D, E flat, C, B natural in the German system) that would appear frequently in the composer's later work.

The Boston Symphony Orchestra and their music director Andris Nelsons announce their upcoming album, on which they present their acclaimed Shostakovich symphony cycle to mark the 50th anniversary of the composer’s death in 1975.

There could be no better introduction to the sound of the Boston Symphony, in the repertoire in which it became most famous, than this French collection with Charles Munch. Sometimes wild and unpredictable in concert performances, Munch's conducting here is both visceral yet elegant, full of mystery when called for and unbridled in its passion at other times. 1962 Recordings.

Andris Nelsons and the BSO conclude their award-winning decade-long Shostakovich project by presenting their acclaimed Shostakovich symphony cycle. Benefiting from the superb audio quality achieved in the exceptional acoustic of Boston's symphony hall, Yo-Yo Ma gives inspired performances of the two cello concertos. The inventive first was written for another friend, Mstislav Rostropovich, a famously demanding piece that was an early landmark in Ma's own career. The far more introspective second was the composer's 60th-birthday present to himself.

Marking Ravel's 150th birthday and the one-year anniversary of Seiji Ozawa's death, Deutsche Grammophon presents Ozawa's recordings with Boston Symphony Orchestra of the composer's orchestral works. This 4 LP set is limited and numbered. The Original Source Series from Deutsche Grammophon features celebrated recordings reissued on vinyl. All recordings have been newly mastered from the original tapes and mixed by Rainer Maillard and cut by Sidney C. Meyer from Emil Berliner Studios. Pressed on 180g virgin vinyl by Optimal, presented in a deluxe gatefold with original artwork and housed in a rigid slipcase. Featuring photos and facsimiles of the recording documentation on the inner sleeve. Each gatefold also contains a note detailing the technical procedure of the Original Source Series.

The Boston Symphony Orchestra and their music director Andris Nelsons announce their upcoming album, on which they present their acclaimed Shostakovich symphony cycle to mark the 50th anniversary of the composer’s death in 1975.

The Boston Symphony Orchestra under music director Andris Nelsons announce their upcoming album of Shostakovich’s Violin Concertos, on which they are joined by Latvian violinist Baiba Skride. It is released as part of an anthology that marks the 50th anniversary of the composer’s death and features both his already issued symphonies and incidental works as well as new recordings of the composer’s complete piano, violin, and cello concertos. Shostakovich wrote his two violin concertos for his friend David Oistrakh, withholding the darker first Concerto from public performance until after Stalin’s death. On the album, Baiba Skride now makes both works her own, from the pyrotechnics of the first to the more lyrical writing of the second Concerto.

Krystian Zimerman is getting better as he gets older. He used to be one of a half-dozen great young pianists, a brilliant virtuoso with tremendous expressivity, enormous soul, and a habit of making even fewer recordings than Argerich or Pollini. Over the years of ever-fewer recordings, he's grown into an astounding virtuoso and the emotional power of his interpretations have grown with his technique.

Anne-Sophie Mutter's Bartók Second is clearly one of the best around. The first movement is a difficult piece to bring off, if only because the beginning is so simple and tuneful compared to later developments. Mutter proves an excellent guide to the music's ongoing development, never losing site of that folk-like opening and always returning to it as if to say, "See, it was there all along!"

10 years after of Seong-Jin Cho's first prize victory in the 2015 Warsaw Chopin Competition, during which the young Korean pianist ascended into stardom with a Deutsche Grammophon discography that includes Liszt, Brahms and Debussy, he prepares a monumentous body of work for the 150th birthday anniversary of Maurice Ravel. Released in three installments over three months, including 'The Complete Solo Piano Works', Ravel's Concerti and a 'Ravel Complete' box set with bonus material and previously unreleased recordings, 2025 will cement Cho's place at the top of the Classical world.

Swan Lake was the first of Tchaikovsky's three great ballets– works which added a new level of depth and sophistication to what had been a purely superficial art form. Today the music is so well-known and popular that it's impossible to comprehend the difficulties the composer experienced at early performances. Audiences found the music "too symphonic," and the dancers were put off by the prominence given to the orchestra which, they felt, distracted ballet fans from the action on stage. Of course, all of these supposed "defects" are precisely what we admire about the music today, and this elegant but exciting performance reveals the music in all of its glory.