Pianist Yundi, formerly Yundi Li, might have several reasons for trying something new with Chopin. It was with Chopin that he became the youngest and the first Chinese winner of the International Frédéric Chopin Piano Competition in Warsaw, at age 18 in 2000, and he has played Chopin countless times since then. Cynics might recall that a Yundi Chopin concerto performance crashed and burned several years ago owing to miscommunications between pianist and conductor. Whatever the case, Yundi here conducts the Warsaw Philharmonic Orchestra from the keyboard.

Chopin's two piano concertos are almost always paired with each other on recordings, but this Naxos release, with Uzbek-born pianist Eldar Nebolsin and the Warsaw Philharmonic under Antoni Wit, offers a more inventive and even more illuminating program of early Chopin pieces. The Fantasia on Polish Airs, Op. 13, actually predated the Piano Concerto No. 1 in E minor, Op. 11, and it's quite rarely performed.

This is a most encouraging issue. In the wake of BIS’s continuing series of Mozart Camargo Guarnieri’s symphonies, Naxos – knowing a good thing when they hear it – have collected his three piano concertos onto a single disc, the First being a premiere recording with neither of the others otherwise available. Indeed, there is little enough of Guarnieri’s bright and attractive music in the catalogue at all. Recording the appealing First Concerto highlighted some major textual issues with the score, as James Melo succinctly summarizes in the booklet.

The latest Warsaw Philharmonic release, Szymanowski Reimagined, takes listeners on a fascinating journey through the musical landscapes of Karol Szymanowski, rendered in a new orchestral guise. The outstanding violinist Bartłomiej Nizioł and the Warsaw Philharmonic Orchestra under the baton of Andrzej Boreyko present transcriptions of selected works by this Polish composer.

Sergei Prokofiev wrote his Symphony No. 5 in B-flat major, Op. 100, in Soviet Russia in one month in the summer of 1944. Fourteen years had passed since Prokofiev wrote the first version of his Symphony No. 4 in C major. World War II was still raging during the symphony's gestation, and Prokofiev composed it in the Soviet Union. He gave out in a statement at the time that he intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." He added "I cannot say that I deliberately chose this theme. It was born in me and clamoured for expression. The music matured within me. It filled my soul.

[These recordings, dating from 1959 and 1960, have been staple entries in the classical catalogues since they were first issued. This is despite well chronicled unusual tempi in the Rachmaninov and distinctly wiry string tome especially in the Prokofiev. This latter partly to do with age but more to do with the players pushed to their technical limits.[/quote]

Despite the rather numerous and diverse orchestral line-up, the idea of concertare has a more chamber-like character here. The soloist is usually not directly confronted with the massive sound of a full orchestral tutti, but rather is involved in dialogues and interactions with small groups of instruments. With exceptional naturalness, André Tchaikowsky managed to achieve in this concerto a balance between solo violin and a full-scale symphony orchestra, employing textures of a linear, quasi-polyphonic character – enriched, however, by intense and refined harmony and contrapuntal devices drawing on the Baroque tradition.

This 1995 release from Deutsche Grammophon combines two memorable concerto recordings by Sviatoslav Richter. Almost all of Richter's recordings are considered legendary – particularly since he did not like recording in the studio – but these are rightfully so. They were some of the first that were released widely in the west, where he was still something of a new talent in the late '50s-early '60s, although a middle-aged man by then. The Rachmaninov Concerto No. 2 with Stanislaw Wislocki and the Warsaw Philharmonic Orchestra dates from 1959 and was met with high praise from most for its detail and the depth of Richter's knowledgable interpretation. It is not as ardent as most other pianists' readings, but its clarity speaks volumes and can still move the listener.

This collection of short choral pieces by Johannes Brahms is an unusual one in present times, partly because many of the choral parts are quite demanding. For a choral club in the 19th century, however, it wouldn't have been so novel, and there are great beauties on offer here. After the fetching Ave Maria, Op. 12, the rest of the program is dense, metaphysical, and, with the partial exception of the Alto Rhapsody, Op. 53, concerned with death. There are two funeral songs, and two more about fate, and this is not the warm, humanistic Brahms of the German Requiem, Op. 45. The performances are profound and dignified, and the overall effect uncanny. The Warsaw Philharmonic Choir under choirmaster Henryk Wojnarowski has a gorgeous rich tone that is undiminished by the long lines of the music, and the Alto Rhapsody achieves real grandeur in the hands of contralto Ewa Wolak. But the real credit goes to the Warsaw Philharmonic and conductor Antoni Wit, who keep a consistent level of tension and momentum in difficult, dark material like the somber Nänie, Op. 82 (Funeral Song), a rarely performed late Brahms masterwork.