Charles Ives composed his first two symphonies between 1897 and 1902, but they weren't performed until a half-century later, when Leonard Bernstein premiered the Symphony No. 2 in 1951, and Richard Bales conducted the Symphony No. 1 in 1953. The contrasts between the two symphonies are striking, since the First was a student work, composed in emulation of the European tradition, while the Second was more idiosyncratic in the use of hymn tunes, folk songs, and other Americana, all developed in a freewheeling manner that reflected Ives' eclectic musical upbringing. This 2015 hybrid SACD by Andrew Davis and the Melbourne Symphony Orchestra is a straightforward presentation of both works, side-by-side, and their differences are highlighted in the styles of playing.

Tasmin Little's 2013 release on Chandos is an exploration of lush and lyrical music for violin and orchestra, composed by the leading British composers of the early 20th century, and it is an album of remarkable depth and beauty. Opening the program is the Concerto for violin & orchestra by E.J. Moeran, which sets the mood for the disc with its long-breathed, melancholy lines and pastoral atmosphere. While this is a technically challenging work that shows Little to her best advantage as a virtuoso, listeners may come away from the piece recalling its sweet ambience more than its flashiness. The same could also be said for Frederick Delius' Légende, Gustav Holst's A Song of the Night, and Ralph Vaughan Williams' The Lark Ascending, all three of which provide tests for the violinist's skills, yet are filled with such gorgeous music that listeners may only remember the general opulence of the scores. Also included are premiere recordings of Roger Turner's arrangements of Edward Elgar's Chanson de matin, Chanson de nuit, and Salut d'amour, which in orchestration, mood, and style fit the rest of the album nicely.