Cellist Steven Isserlis once again displays his ingenuity and innovation in programming on this 2010 release combining four works for cello and orchestra that wouldn't even exist without him: all arrangements were made at his personal request, each one by the arranger of his personal choice. The most radical reworking is the opening selection, based on a suite composed for cello and orchestra by a 19-year-old Debussy, which only survived in a version for cello and piano. In her imaginative reconstruction of, or rather replacement for, Debussy's original composition, Sally Beamish uses the piece as the opening movement, going on to construct orchestral arrangements of four other Debussy works from the same period. Isserlis also includes revisions of two Ravel songs, Prokofiev's incomplete Concertino and Ernest Bloch's From Jewish Life, ending with the movement entitled Prayer. Throughout the fascinating programme, Isserlis is backed by the Tapiola Sinfonietta conducted by Gábor Takács-Nagy.

Volume 8 of Jean-Efflam Bavouzet’s survey of Mozart’s piano concertos with Gábor Takács-Nagy and Manchester Camerata features two late concertos – Nos 26 and 27 – along with the overtures to Così fan tutte, Die Zauberflöte (The Magic Flute), and La clemenza di Tito. Concerto No. 26, the ‘Coronation’, was completed in 1788, premièred in Dresden, and then played at the coronation of Leopold II as Holy Roman Emperor, in Frankfurt, on 15 October 1790.

The three concertos featured on this album were composed together in 1782 / 83 – shortly after Mozart had left his patron and position in Salzburg to establish himself as a freelance composer and performer in Vienna. The concertos were all performed by the composer in a series of subscription concerts that he gave in the city. All share the same form – opening movement in sonata form, slow movement in ternary form, and a bright rondo finale.

The Violin Concerto No. 5 in A major, K. 219, often referred to by the nickname "Turkish", was written by Wolfgang Amadeus Mozart in 1775, premiering during the Christmas season that year in Salzburg. It follows the typical fast-slow-fast musical structure.

Over a thirteen-year period, Gábor Takács-Nagy and the Verbier Festival Chamber Orchestra embarked on a spiritual journey through the nine symphonies of Beethoven. The resultant cycle of recordings captures the ensemble's liberated and transformative account of these masterworks, approaching each opus with a sense of spontaneity, insight, and joy. In the words of legendary Beethoven biographer Jan Swafford: "Honesty is what we hear: no romantic lushness, no ego, rather a sense of the truth of each piece on its own terms. There is a sense of intimate communication between an orchestra and conductor in service of a vision of the works as individuals and as a whole."