A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)

Carl Philipp Emanuel Bach (1714-1788) was a German musician and composer; and the second of five sons of Johann Sebastian Bach and his frist wife, Maria Barbara Bach. He is considered to be one of the founders of the Classical style, composing in the Rococo and Classical periods.

The Haydn series continues with the Paris Symphony no 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians - and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The release offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué and to revive the success that they once knew.

Beethoven’s Seventh Symphony emerged at a biographical crossroads, between his definitive establishment as a leading composer and the onset of increasing isolation caused by his advancing deafness. At the time of its premiere, it was the second‑longest symphony ever written, surpassed in scale only by Beethoven’s own Third, the Eroica. Since its first performance in 1813, there has never been a period in which The Seventh was not counted to the composer’s most popular works.

How can music by Mozart still feel undiscovered? For this ensemble, the answer lies in the piano trios: works that, despite their composer's fame, remain surprisingly absent from the concert hall. Bringing together K. 254, K. 496 and K. 548, this first volume follows Mozart's style across twelve formative years, representing three distinct periods in his writing for piano trio, from the lingering influence of the accompanied sonata to a richly conversational chamber style.

The “Beethoven 3 & 5” LP by the Stuttgart Chamber Orchestra, conducted by Thomas Zehetmair, is released on SKO and comes in a mediabook edition. The edition brings together Beethoven’s Symphonies No. 3 “Eroica” and No. 5 in a compact program sequence and presents the ensemble in a take on that is geared toward precision and chamber-musical transparency.

On Mozart Horn Concertos, Ben Goldscheider joins the Münchener Kammerorchester in performances of all four concertos by Mozart, combining clarity, energy, and a strong sense of musical direction.

Pianist Nicolas Namoradze’s much‑anticipated Ondine debut marks a significant milestone in his rapidly ascending career. Winner of the triennial Honens International Piano Competition in 2018, Namoradze has since been prominently profiled in major international media, including The New York Times, and has earned widespread acclaim for both his performances and recordings. A Musical America New Artist, BBC Music Magazine Rising Star, and Gramophone One to Watch, he was named Pianist of the Year by the UK Critics’ Circle in 2022.

Otto Klemperer brings majestic poise and unshakeable structural integrity to Mozart’s two great G minor symphonies. Far from heavy-handed, his deliberate tempos reveal the intense counterpoint and dark, brooding drama of both scores. The Philharmonia Orchestra plays with transparent clarity, shedding light on the tragic urgency that ties these two masterworks together.

Released between 1991 and 2005, the selections in The Warner Recordings encapsulate the period when Pierre-Laurent Aimard was signed to Erato and Teldec, performing mostly 20th-century fare and some music from the 19th century. Aimard is famous for his contributions to the modernist catalog, and his performances of works by Pierre Boulez, Elliott Carter, György Ligeti, and Olivier Messiaen are regarded as scrupulously executed and authoritatively interpreted. Aimard also recorded early 20th century pieces by Charles Ives, Alban Berg, Maurice Ravel, and Claude Debussy, as well as Romantic masterpieces of Beethoven and Liszt. A pianist's pianist, Aimard is well-rounded in his repertoire and a true master of keyboard technique, yet he has received considerably less fanfare than many of his flashier colleagues. Yet connoisseurs of piano recordings know that Aimard is indispensible, especially for his special feeling for French music, and his recordings are important documents that serious students and newcomers should appreciate.

Every man's death diminishes us all, but the death of a man so close to completing his greatest achievement and the summation of his life's work diminishes us all greatly – very, very greatly. When Emil Gilels died in 1985, he had completed recordings of most but not all of Beethoven's piano sonatas, released here in a nine-disc set. What's here is unimaginably good: superlative recordings of 27 of the 32 canonical sonatas, including the "Pathétique," "Moonlight," "Waldstein," "Appassionata," "Les Adieux," and the majestic "Hammerklavier," plus the two early "Electoral" Sonatas and the mighty Eroica Variations. What's missing is unimaginably priceless: five of the canonical sonatas, including the first and – horror vacui – the last. But still, for what there is, we must be grateful. Beyond all argument one of the great pianists of the twentieth century, Gilels the Soviet super virtuoso had slowly mellowed and ripened over his long career, and when he began recording the sonatas in 1972, his interpretations had matured and deepened while his superlative technique remained gloriously intact straight through to the last recordings of his final year.

Kristian Bezuidenhout and the Freiburger Barockorchester pursue their lively exploration of Mozart’s concertos. From the early impulses of the Concerto No.5 K.175 to the incandescent drama of the Concerto No.20 K.466, via the daring formal novelties of the Concerto No.14 K.449, these works reveal a myriad facets of Mozart’s genius, always wondrously inventive, theatrical and profoundly modern.

La Locandiera (Vienna, 1773) was a significantly successful Salieri's opera during the 1770's but declined and disappeared by the end of the 18th century. We have to acknowledge in this opera a composer with a balanced approach between libretto and music, but who uses a simple scoring as compared with a similar age Mozart. The libretto by Carlo Goldoni, has moral overtones denouncing the arrogance of the nobility against the emergence of the bourgeoise class, and the female hipocrisy.

This compilation covers 20 years of live recordings made by conductor Yevgeny Mravinsky and the then-named Leningrad Philharmonic Orchestra for Erato. Mravinsky led that orchestra for nearly 50 years, from 1938 until his death. His last recording was that of Shostakovich's Symphony No. 12, made in 1984, found on Disc 3 here. His interpretations of Shostakovich and Tchaikovsky were highly regarded, so it's not surprising that several of their symphonies are here. There are also symphonies by Mozart and Beethoven in this set; tone poems by Tchaikovsky and Mussorgsky; and orchestral excerpts from operas by Wagner, Glinka, and Glazunov. The final disc contains a rare recording of a rehearsal led by Mravinsky, something few outsiders were ever allowed to witness. Even though he was an elder statesman of Russian music at the time of these recordings, there is still precision and energy in his interpretations.