One of those composers whose name you might not be instantly familiar with, but whose music you certainly will be, Italian pianist Ludovico Einaudi has been captivating audiences for the best part of two decades with his beautifully delicate and minimal arrangements, many of which have gone on to become soundtrack staples for everything from costume dramas to TV adverts to Hollywood films. Celebrating his increasingly popular output, Islands: Essential Einaudi compiles the Milan Conservatory graduate's most recognizable pieces, with material from his first solo piano record, Le Onde ("Questa Notte"), right up to 2009's synth-based Nightbook (the gothic cello-led title track), alongside a brand new composition, "The Earth Prelude."

Two names virtually synonymous with the violin in the twentieth century are Fritz Kreisler and Oscar Shumsky. The former was a notable performer in his own right, appearing as soloist in front of most of the world's most prominent orchestras. Today, however, Kreisler primarily lives on through his extensive compositional output, particularly that for the violin. This vast body of work can generally be categorized as being nationalistic, imitative of eighteenth century composers, or arrangements.

Most listeners to 18th century music in the modern era are well familiar with JS Bach, perhaps his sons Karl Philipp Emanuel, Wilhem Friedemann, and Johann Christian, certainly Handel, Vivaldi, and Scarlatti, and perhaps Purcell. In the last 30 years we are fortunate to have been given access through CD recordings to similar music from the enormous host of contemporaries of these masters of the Baroque, and it is constantly astonishing how high the quality of the written music was throughout the 18th century. Surely there were mediocre or perhaps poor composers, but the sheer number of really good ones continues to amaze.

2008 release, the seventh studio album from the Voice AKA Russell Watson. People Get Ready sees the operatic tenor taking a new direction. Backed by Amy Winehouse's band, Watson delivers an album of Easy Listening, Soul and Rock standards and, for the first time, does away with the classical crossover songs that made him a household name throughout the UK. 14 tracks including 'Me & Mrs. Jones', 'Georgia' and 'Papa Was a Rolling Stone'.

"The idea of recording this album was born during the tour of Nightbook, which in its breadth has seen eighty dates between Europe and America, all of which are followed by the audience - told the Einaudi Feltrinelli di Milano - Every concert was different from ' other, because playing live, in situations so exciting, there are growing and new arrangements of songs interesting variations. Throughout the tour I have done nothing but dream about the stage at the Royal Albert Hall, it is a legendary place for every musician. And so finally I decided to record their live concert that, in a double album. "

This isn't French violinist Renaud Capuçon's first outing as a concert soloist; he has released a recording of concertos by Mendelssohn and Schumann, and a disc of concerted works by French composers. This is his first recording of concertos by Mozart, though, and it is as successful as his previous releases. Capuçon's lean tone, lyrical approach, subtle vibrato, and supple phrasing are ideal for Mozart's First and Third concertos, and his ardent but elegant interpretations are virtually perfect. As in his other recordings, Capuçon's playing is both completely in the style of the works and still wholly individualistic, particularly in the cadenzas, which have a sense of improvisatory freedom that entirely suits them.

Denkt man an die Musik des Barock, fallen einem als erstes Namen wie Monteverdi, Vivaldi und Bach ein. Eine Musik, pompös und lebenslustig. Schaut man hingegen auf die Englische Musik dieser Zeit, findet man einen sehr beschaulichen, fast miditativen Stiel vor. Dies verdichtet sich vor allem in der Harfenmusik am englischen Hof. Lawrence-King interpretiert diese Musik mit der nötigen Andacht und vergisst dabei weder die melancholischen Farben der keltischen Ursprünge, noch die Festliche Stimmung eines barocken Hofes.

The English Concert is an "authentic performance" ensemble, founded by harpsichordist and conductor Trevor Pinnock in 1973. The group quickly established itself as one of Britain's leading orchestras in the then-young field of performing Baroque works on Baroque instruments. The English Concert and the energetic Pinnock helped put historical performance on the charts. The orchestra has a reputation for stylish, lively, and high-quality music-making. Its sound is light, bright, and clear. Its strings usually employ no vibrato, and its winds have a woody, attractive tone that blends well with strings and with the fortepiano.

Glossa is now introducing into its catalogue one of the most sought-after titles from the now defunct Symphonia label and a recording replete with poetry and expertise. The graceful airs de cour of Pierre Guédron – who worked in the courts of the French kings Henri IV and Louis XIII at the beginning of the 17th century – are interspersed here with lute preludes by leading exponents of the instrument at the time, such as Robert Ballard and Nicolas Vallet. Soprano Claudine Ansermet and lutenist Paolo Cherici conjure up a recital of singular beauty which takes us back to the world of those early aristocratic salons, such as that of the Marquise de Rambouillet, one which was known throughout Europe as a centre of the highest order for literature, poetry and music.

The musical collection by Antonia Padoani Bembo entitled _Produzioni armoniche_ (Harmonic Productions) contains cantatas and arias that together establish an intriguing portrait of the singer-composer born around 1640 in the Veneto. She received help from the guitarist-composer Francesco Corbetta who most probably accompanied her when she sang for Louis XIV, thereby obtaining a life-long pension with which to live in a women's community in Paris.

Tot ver in de achttiende eeuw was de luit hét instrument van de Europese adel. De beste renaissance- en barokcomponisten schreven talloze werken voor het instrument. Een van de beste luitisten van dit moment, Christopher Wilson, maakte een prachtige keuze uit het enorme luitrepertoire uit de Franse renaissance. Verfijnd, rustgevend en sfeervol.

Written by a young and ambitious Chopin as self-promotional vehicle to demonstrate his performance capabilities and, to a lesser degree, his compositional skills, the two piano concertos have remained as an important part of the instrument's repertoire. Often derided for their somewhat trite orchestral parts, these concertos are nevertheless beautiful, thoroughly enjoyable works. While there are countless recordings of the piano works of Beethoven and Mozart on period instruments, this inclination has found its way to Chopin's works with less frequency. This album, produced by The Fryderyk Chopin Institute, makes use of an 1849 Erard fortepiano made in Paris, very similar to the instruments Chopin himself would have used.

Konjovic is the most significant representative of the nationalism of the Serbian modernism in music. His most famous works are his operas. The period between two world wars was defined by Konjovic who introduced several genres into Serbian music. His Czech experience encouraged his natural inclination toward folk sources and he began developing melodies, like Janacek, out of the inflection of speech. Konjovic's mature style strives for direct communication with broad audience while incorporating a sophistical harmonic vocabulary. His work includes over one hundred folk songs arrangements and twenty original choral pieces.

This disc is a sequel to the Hommage à Bach release by German pianist Andreas Staier, likewise devoted to the music of Schumann. Here Staier devotes himself to Schumann's late music (from his last year or so among the sane), playing the Gesänge der Frühe, Op. 133, himself, and taking on violinist Daniel Sepec for the two violin sonatas and Schumann's arrangement of Bach's Chaconne (here "Ciaconna") from the Partita for unaccompanied violin in D minor, BWV 1004. Both players use historical instruments, Staier's 1837 Erard is the same piano that's heard on the earlier release, and it's safe to say that those who enjoyed Hommage à Bach will also find much to admire here, even though the two performances are quite different in overall effect.

This is a very compelling performance of Tchaikovsky's Op.44. Perhaps too expansive for my taste, but skilfully well played and always convincent. Postnikova and Rozhdestvensky make a good match in this music and as a great advantage, they chose the composer's original version. While she is known to many for her recordings of the complete piano output of Tchaikovsky and all five piano concertos of Prokofiev, Viktoria Postnikova has played a broad range of solo, chamber, and concerto repertory, from J.S. Bach and Haydn to Chopin, Rachmaninov, and Shostakovich. In addition, Postnikova has played less traditional fare by Busoni, Ives, and Janácek, and contemporary works by Schnittke and Boris Tishchenko.