With 38 known works, Carl Stamitz is one of the most important composers of concertante symphonies. The Sinfonia concertante was a hybrid form between symphony and concerto popular in the 1760s and 1770s. One model may have been the baroque concerto grosso, in which a group of soloists alternated with the orchestral tutti. In the sinfonia concertante, there are always at least two soloists facing the orchestra. The concertante differs from the symphony in the number of movements; many are only in two movements, but none in more than three.

The ‘abundance of intelligence’ in Pavel Kolesnikov’s pianism which so impressed Gramophone pays particular dividends in Beethoven, the ‘Moonlight’ sonata sounding newly minted in this remarkable reading.

An anniversary accolade with a twist: one hundred and fifty years after his birth, this is a wonderful recital of some of the many works dedicated to Leopold Godowsky. It’s difficult to imagine more persuasive performances than these by Andrey Gugnin, who makes a second appearance on Hyperion after his universally—and vociferously—acclaimed Shostakovich.

This sensational recital—featuring some of the greatest keyboard music to emerge from these islands—is the perfect vehicle for Mahan Esfahani’s abundant talents. His accompanying booklet notes are an added bonus, guaranteed to inform, illuminate and provoke by turns.

Ligeti’s vertiginous studies are breathtaking: extraordinary explorations of the modern piano which test the instrument (and its player) to the limit.

The Choir of St George’s Chapel, world famous through its royal patronage, is one of this country’s foremost, participating in daily services throughout the year at its Windsor Castle home. Here the choir performs a wide range of music appropriate to the seasons of Advent, Christmas and Epiphany.

Piano Sonatas by Chopin (No 2) and Hough (No 4) are the twin peaks of a typically stimulating recital which—as always from Stephen Hough—spans centuries and styles with assurance. How often do Liszt’s ‘Funérailles’ and Gounod’s ‘Ave Maria’ share the same programme?Life is nothing if not unpredictable.

After a diploma in piano at "Niccola Piccinni" Conservatory of Music in Bari under the guidance of Gregorio Goffredo and a master at "Nino Rota" Conservatory of Music in Monopoli under the guidance of Benedetto Lupo, he attended the masterclasses of Marisa Somma, Cristian Zaccarias, Joaquin Achucarro, Francois J. Thiollier, Konstantin Bogino et Aldo Ciccolini.

Italian pianist Alessandro Deljavan has been astonishing audiences for more than two decades. Acknowledgements began at the age of nine when he won the prestigious Concours musical de France (1st Prize, Paris, 1996). He is embraced for his remarkable prowess and emotional intensity by audiences and colleagues alike.

A versatile musician and music producer. Alessandro's preference for board instruments was clear when as a child he began to play as a self-taught pianist. He also started composing at a very early age. At 14 y.o. he wrote a cycle of Mazurkas inspired by Chopin.