Since this CD's overtly Romantic program is plainly aimed at the mass market and the works are obvious showpieces for violin and piano, some will regard this album merely as a flashy vehicle for a rising star. Yet David Frühwirth has judiciously chosen a number of obscure but delightful works to premiere here, and the pieces by the almost forgotten Jenö Hubay, Efrem Zimbalist, Joseph Achron, Ovide Musin, and Hans Sitt are charming curiosities that many will find appealing. While the names of Kurt Weill, Alexander Glazunov, Henryk Wieniawski, and Henri Vieuxtemps are indeed famous, Frühwirth has nonetheless found a few of their unknown gems to lavish with his considerable skills and flamboyant Viennese style.

Under the baton of conductor Mark Scatterday, the Eastman Wind Ensemble celebrates its 60th anniversary with its first recording for Avie, a superb reading of Stravinsky's Octet, while the Eastman Virtuosi, with narrator Jan Opalach, deliver a devilish rendition of L'Histoire du Soldat.

John Wilson, today’s foremost conductor of film and British light music, finds himself the centre of attention this summer with a slew of performances and media appearances that cast the spotlight on his singular specialty, and particularly the music of Eric Coates, as heard on the Avie release ‘London Again’. A new album from John Wilson and the RLPO on Avie entitled ‘Made in Britain’, due for release in October, will feature music by Elgar, Vaughan Williams and Walton amongst others.

‘Made in Britain’ is a rich and nostalgic journey through English music straddling the turn of the 20th century, with John Wilson, today’s leading proponent of British Music, at the helm of the UK’s oldest orchestra, the Royal Liverpool Philharmonic. ‘Made in Britain’ celebrates a rich period of English music surrounding the turn of the 20th century, including evergreens such as Vaughan Williams’ The Lark Ascending (for years No 1 in the Classic FM Hall of Fame) and Elgar’s Salut d’amour, as well as the folk-inspired Two English Idylls by Butterworth and English Folk Song Suite by Vaughan Williams.

Pianist Daniel-Ben Pienaar came from South Africa and was largely trained there. Very well equipped technically, he has a gift for unorthodox interpretations that he seems to have thought out on his own and to have developed the technical tools to execute. His thoroughly pianistic version of Bach's Goldberg Variations, BWV 988, will appeal to those who like Glenn Gould's versions, especially the earlier one. In the beginning, in fact, Pienaar seems to be offering a sort of updated Gould reading, without the humming.

In 1996, Jeannette Sorrell and Apollo's Fire, the Cleveland-based Baroque orchestra that she founded, made a very fine recording of Messiah, but this 2010 album surpasses it in every way. Sorrell's treatment of the slow opening of the Sinfonia tips her hand about what her approach will be to the oratorio as a whole. Rather than playing the rhythm dotted, as written (ponderous) or double dotted, as it's usually interpreted by early music specialists (rigid and severe), she splits the difference and plays it as a triplet, which gives it a lovely dancing lilt. It's indicative of the exceptionally light touch and punchy rhythmic vitality she employs throughout.

Principal flautist of the New York Philharmonic, Robert Langevin gives flawless performances of three staples of the flute repertory, the Sonatas of Fauré, Franck and Pierné. Avie continues its series of recordings featuring principal players of the New York Philharmonic with flautist Robert Langevin. Joined by fellow Philharmonic player pianist Jonathan Feldman, the Quebec-born Langevin gives flawless performances of three staples of the flute repertory. Though the Sonatas by Fauré, Franck and Pierné were all originally conceived for the violin, the composers sanctioned the adaptations for flute which fit the instrument perfectly naturally. Langevin studied in his native Quebec and in Europe.

Avie introduces the brilliant young Romanian pianist Alexandra Silocea who offers some of her signature repertoire on her debut recording, the first five Piano Sonatas of Prokofiev. Dubbed “Alexandra the Great” by Gramophone who announced her debut recording, the 26-year-old trained in Vienna and Paris, and is now resident in the UK. In 2003, while studying at Vienna University for Music and Performing Arts, she was awarded the Herbert von Karajan Scholarship, the latest in a string of prizes from competitions throughout Europe. Alexandra made her professional debut in 2008 with the Vienna Chamber Orchestra. Recital debuts followed in 2009 at the Musikverein in Vienna, Carnegie Hall’s Weill Recital Hall in New York, and le Salon de Musique in Paris.

Handel’s Water Music? Beethoven’s 5th? Judas Maccabeus? Familiar strains from these masterworks appear on this delightful new disc by baroque cellists Phoebe Carrai and Tanya Tomkins, but the music itself is by the little-known 19th-century German cellist and composer Friederich August Kummer, who adds his personal stamp to these highly entertaining duets whilst paying homage to the baroque and classical masters. In his day, Kummer was a renowned performer and pedagogue who was principal cellist of the Dresden Opera. Close friends and musical collaborators included Franz Schubert and Felix Mendelssohn. He was the first professor of cello at the Dresden Conservatoire when it opened in 1856.

Baroque cellist Tanya Tomkins makes an indelible impression with her virtuosic recording of J S Bach’s Cello Suites. Tanya Tomkins, one of the foremost cellists of her generation, makes an indelible impression scaling the pinnacle of the cello repertoire, J S Bach’s Six Suites for Unaccompanied Cello. Familiar to record collectors through her appearance on Avie’s release of Kummer’s Cello Duets, and as a member of the Benvenue Fortepiano Trio’s Mendelssohn and Schumann recordings, Tanya is equally at home in an intimate house concert setting or anchoring the cello section of the San Francisco’s Philharmonia Baroque Orchestra.

Like much of Tchaikovsky's musical output, his ballet scores were often subject to criticism. This is certainly true of his first attempt at ballet, Swan Lake. Although still firmly rooted in the traditions of the day, Tchaikovsky certainly tried to move out on his own by making the score much more orchestra-based than most of his predecessors. This, of course, drew the ire of dancers and theater directors alike as the attention was taken away from the dancers and placed on the musicians. History shines more favorably on Tchaikovsky's independent streak, making him the first Russian composer whose ballet scores are played as stand-alone orchestral works, not to mention the fact that Tchaikovsky was unknowingly paving the way for a string of subsequent Russian ballet composers like Stravinsky and Prokofiev.

The magnificent Norman cathedral on the rock, part of the World Heritage site shared by Durham University and Durham Cathedral, was the setting for the world premiere of Jon Lord’s “Durham Concerto” commissioned by the University to commemorate its 175th anniversary. The 1,000 strong audience rose spontaneously to its feet as the final climax reflected Sir Walter Scott’s vision, which is engraved on “Prebends Bridge: “Grey Towers of Durham/Yet well I love thy mixed and massive piles/ Half church of God, half castle ‘gainst the Scot”. The work emotionally evokes the sense of history, scholarship, place and community evident in Durham – an unbroken line from St Cuthbert and the Venerable Bede, Europe’s leading scholar of the 7th and 8th centuries, to the modern day university.

Violinist Herwig Zack puts the spotlight on the unaccompanied four strings of his instrument, with J. S. Bach as the foundation, inspiring the 20th century composers Ben-Haim, Berio and Bloch. Violinist Herwig Zack, who produced a compelling and imaginative solo recording with Essentials (AV2155), follows with an equally inspired recital that casts the spotlight on the “4 strings only” of his unaccompanied violin. With J. S. Bach providing the foundations on which arguably all solo violin repertoire was created, Zack places his Second Sonata at the heart of the program and surrounds it with four mid-20th century works which were indelibly inspired by the Baroque master.