This new album continues Ondine’s award-winning series of orchestral works by Witold Lutoslawski (1913–1994) together with the Finnish Radio Symphony Orchestra. The series has gathered several accolades, including a Grammy nomination, a BBC Music Magazine Awards nomination, and several recording of the month awards and best recordings of the year nominations. This album includes the composer’s early hit, his folklorish masterpiece Concerto for Orchestra, which is among his most performed compositions.

Like her other duo-recording venture with pianist Alexandre Rabinovitch, this album again demonstrates why pianist Martha Argerich is the grand dame of two-piano works. This album, with pianist Nelson Freire, offers another interpretation of the Rachmaninoff Second Suite for Two Pianos as well as a transcription of Ravel's La Valse and Lutoslawski's Variations on a Theme of Paganini. Unlike many other piano duos, Argerich and Freire are capable of drawing an amazingly convincing, almost symphonic sound out of their two instruments.

Christoph von Dohnányi served as conductor of the famed Cleveland Orchestra from 1984 to 2002 and the rapport between conductor and orchestra produced some of the finest orchestral playing in this country. This recording of the Shostakovich Symphony No. 10 paired with Witold Lutosl'awski's homage to Bartok, the Musique funèbre offer the reason for the magic of this combination of ensemble and conductor. The Shostakovich is rich in sonorities and in first desk playing and von Dohnányi's control over these mighty forces makes this an immensely intense recording. The sound produced by Cleveland (captured by Decca Engineers) is huge but never less than beautiful.

Das SWR Vokalensemble gehört zu den besten Chören der Welt. Ein weiterer Baustein in der Serie mit Chorwerken aus verschiedenen Ländern. Sehr selten aufgeführte Werke von Szymanowski, Gorecki, Haubenstock-Ramati und Lutoslawski, den bedeutendsten polnischen Komponisten. Dass Polen besonders im 20. Jahrhundert so viele und so herausragende Komponisten hervorgebracht hat, ist angesichts der politischen Geschichte des Landes sehr überraschend. Nach dem 2. Weltkrieg und nach Stalins Tod brach sich auf dem Musikfestival 'Warschauer Herbst' 1956 die aufgestaute Kreativität Bahn und es präsentierte sich das ungeheure musikalische Potential des Landes einer erstaunten Weltöffentlichkeit.

Second volume in the Witold Lutoslawski (19131994) symphony cycle by the Finnish Radio Symphony Orchestra and its chief conductor Hannu Lintu brings together two symphonies which belong to the most remarkable symphonic creations of the late 20th century. In his 2nd and 3rd Symphonies Lutoslawski lays out the principal foundations of his creative legacy.

Isabelle Faust is one of my favorite violinists. She puts her heart and soul into everything she plays. The unusual and varied set of works on this recording display her gifts to an almost sublime degree of excellence and execution. She knows how to "get into" the music and make it speak. I value this selection because of its variety and recommend it to anyone with a sense of adventure beyond the traditional norms, of which she is also quite able, as witnessed by this recording. She is, quite simply put, an outstanding talent and this recording shows her admirable abilities completely and well.

“This is not at all what I wrote, but play it like this. Do play it this way!” exclaimed Dmitri Shostakovich after Yudina performed the freshly written 24 Preludes and Fugues. This exclamation contains the key to understanding of Maria Yudina’s performing art – a controversial and disputable one that left a profound imprint on the cultural environment of the twentieth century. The 10-album set is the biggest part of Maria Yudina’s surviving studio and concert recordings from the Melodiya archive made between 1948 and 1969.

This album features cello concertos by Witold LutosIawski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Sondergard. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century.