This is a repackaging in a budget priced twofer of previously released singles, both Read more Legends for cello and piano, received two reviews, one by William Zagorski and another by Martin Anderson, both in 24:4. By now it is well known that Heinrich von Herzogenberg (1843–1900) practically worshipped Brahms. But it wasn’t enough for him to try to imitate the elder composer’s style; he ended up marrying the woman that Brahms had proposed marriage to and then reneged on.

There have been a number of outstanding recordings of the Dvorák Concerto since this DG record was made, but none to match it for the warmth of lyrical feeling, the sheer strength of personality of the cello playing and the distinction of the partnership between Karajan and Rostropovich. Any moments of romantic licence from the latter, who's obviously deeply in love with the music, are set against Karajan's overall grip on the proceedings. The orchestral playing is superb.

Gidon Kremer, instead of coupling the Shostakovich Second Concerto with its natural partner, No. 1, enterprisingly chooses a concerto which Shostakovich labelled as his own Op. 129, but which in fact confusingly enough is Schumann's Op. 129. This is a novelty on two counts. Not only does it bring us Shostakovich's orchestration of the work, aiming to improve on Schumann's own, but for the first time to my knowledge puts on disc Schumann's violin version of his cello concerto. Shostakovich's aim in renovating the orchestration with changes predominating in the tuttis was to improve the work for his protege, Rostropovich.

“Though the musical languages are so different, parallels do emerge; the Schumann performances are enhanced by Enders and Hering's keen awareness of the importance of expressive nuance - and subtle changes of colour, microtonal inflections and dynamic contrasts are all important coponents of Isan Yun's style…All the performances are passionate and strongly committed. Enders has a splendidly clear, penetrating tone.”

This CD is one of the hidden gems in the huge Naxos catalogue; three German musicians displaying consummate skill in a less well-known Beethoven work and the equally attractive Ries piece. Ries deserves the attention in my opinion as, although often described as a mere epignone of Beethoven, he is clearly his own man! Of course he was influenced by Beethoven, having served as Beethoven's factotum for some years, but Ries often has something interesting to say in his music. Ries' Op.28 is a lovely clarinet trio lasting 23 minutes, wonderfully played by Jurgen Demmler (clarinet), Markus Tillier (cello), and Peter Grabinger.

Anyone who knows and loves the warmth of expression in Bruch's famous first violin concerto will find the same lyrical gifts amply displayed here - the slow movements are particularly heartfelt and Bruch, even at this late stage in his life, seems to have had an undiminished fund of touching melody. That is not to suggest that the Romantic ardour of these works is solely confined to the slow movements, though: the opening 'allegro' of the octet, for instance, contains writing of deeply felt passion too, as does the development section of the string quintet's first movement.

Mieux qu'ici-bas is francophone Canadian pop singer Isabelle Boulay's third studio album, released in September 2000. It was led by the hit single "Parle-moi" which was released about the same time. The album achieved a great success in Belgium (Wallonia) and France, where it reached the top ten and stayed on the chart for about two years.

Tombé sous le charme du dernier recueil poétique de Michel Houellebecq en allant chercher sa ration de clopes (dixit l'intéressé), Jean-Louis Aubert s'est mis en tête de mettre en musique seize passages de Configuration du dernier rivage, publié en 2013. Aidé du producteur Jean Lamoot, connu pour avoir officié aux côtés de Bashung, Noir Désir ou Raphaël et monté le projet pop world Rivière Noire, l'ancien chanteur de Téléphone a donné une seconde vie à ces Parages du vide après leur composition dans un état de fièvre, en une dizaine de jours.

Hogwood’s accounts are stylish and well recorded, though not quite so bracing in their effect. Both he and Gardiner have the same soloist in the B minor Suite, Lisa Beznosiuk, today’s leading exponent of the Baroque flute. Hers is an appealingly light and delicate tone, one that gives her an almost ghostlike presence in the tuttis. But she is able to hold her own in the solo passages, despite the difficulty of fingering, and in both accounts her playing is nicely ornamented, not overly affected.

When I first heard about this record, I couldn't wait to hear it. Ali Akbar Khan and L. Subramaniam are 2 of my very favorite musicians. Sarod and Carnatic violin are 2 of my favorite instruments. Also, Zakir Hussain accomapanies them on tabla. There is Mridangam on there 2 but not sure who. This cd did not let me down at all. It is great. The maestros all give an outstanding performance. I listen to alot of different kinds of music and own alot of different cd's. This is in the top 5 for sure.

Lakshmi Shankar has a heavenly voice, sweet and clear. The "Khyal in Raga Dhaani" is in a blues-like pentatonic scale, and the romantic "Thumri" are delivered in an innocent, direct, lyrical melodiousness. The bhajan "Gopala," by the 16th-century poet Nidhiram, is totally engaging in its pleading yet devotional quality, with Shankar beginning at a high point right from the onset. "Janama Marana," by the saint/poetess of the 16th century, Mirabai, who gave up her life as a queen for devotion to Lord Krishna, has a loving, serious quality. It is a thoroughly enjoyable album.

Olivia Ruiz est de retour ! Ce nouveau disque, son quatrième, est son disque. Celui qu'elle a pensé, celui qu'elle a rêvé, celui sur lequel elle a travaillé, seule dans l'écriture et la composition, tout au long de ces derniers mois alternant les hauts et les bas, le jour et la nuit, le noir, le blanc et les couleurs, l'alternatif comme le continu. Entre le calme et les tempêtes. « Le calme et la tempête », une évidence donc. Entre profondeur des mots et profondeur des sons, jamais elle n'avait donné cette impression de puiser si loin en elle pour trouver la source de ses chansons.

This recording gathers together the five concertos listed by Ryom as being for the recorder: the three for 'flautino' (generally accepted to be the sopranino) RV443-5, RV441 and the one (RV442) which Vivaldi reworked for the traverse flute (RV434 = Op. 10 No. 5), then displacing the recorder in popular favour. Michala Petri turned the tables by recording all six flute concertos of Op. 10 on the recorder (also Philips—LP only). Collectively these works plumb no great depths, either emotionally or intellectually, but, given the character of the solo instrument, one would not expect them to. The slow movements depend on simple charm, the outer ones on lightness and cheerful sparkle.

Best-known for his refined performances of Baroque and Classical music, Nikolaus Harnoncourt approaches modernism for the first time in this 2004 CD of Béla Bartók's Music for Strings, Percussion and Celesta; Divertimento for String Orchestra. Refinement is still Harnoncourt's watchword in Music, for his reading is extremely polished and precise, but so cautious as to make the work seem insipid. Missing are the edginess of the dissonant counterpoint in the opening movement, percussive bite in the second, agitation in the "night music" of the third, and gusto in the fourth, all necessary to any successful performance.

Au moment d'être à vous est le second album live de la chanteuse canadienne francophone Isabelle Boulay, sorti en septembre 2002. Celui-ci a connu un grand succès en Belgique, en France et en Suisse où il a atteint le top 10. Il est resté 57 semaines durant dans le classement des ventes d'album en France et a reçu un disque de platine SNEP.