Experience the musical brilliance of Sir András Schiff with this exclusive Blu-ray Disc collection, a tribute to the life's work of one of the world's most celebrated pianists and conductors. With an unparalleled ability to breathe life into compositions, Schiff captivates audiences worldwide, rekindling almost forgotten ideals of piano artistry. This Blu-ray collection features his captivating renditions of Bartok's Piano Concertos, Schubert's Piano Trios, Bach's Goldberg Variations, and more. Schiff's acclaimed Janacek and Schubert interpretations are also included. The András Schiff Collector's Edition is a treasure trove of classical music, offering rare archival footage from the years 1989 to 2008. It is an opportunity to witness the evolution of an artist who has left an indelible mark on the world of classical music.

Recorded in association with a live performance from Birmingham’s Symphony Hall in 2022, this account of Stanford’s Requiem from Martyn Brabbins and massed Birmingham forces thrillingly captures all the grandeur and intimacy of a neglected choral epic.

Nicholas Maw's Odyssey is a landmark in contemporary music; at approximately 90 minutes it is one of the longest continuous examples of music written for full-orchestra and received a first, truncated, performance at the 1987 BBC Proms. It took Maw many years to complete and was later recorded to great acclaim by Sir Simon Rattle and the City of Birmingham Symphony Orchestra.

For the third volume in their cycle of Schubert’s symphonies, Edward Gardner and the CBSO turn to the first and fourth symphonies. Composed in 1813, when Schubert was just sixteen, the First Symphony admirably demonstrates the young composer’s grasp of symphonic form and technique, and whilst the influences of Haydn, Mozart and early Beethoven are clearly audible, the spirit of Schubert’s own distinctive voice is certainly in evidence.

Three of Szymanowski’s most important works show Rattle’s ability to energise music in which he believes. Sensuality and cogency blend in refined sound.

The Busoni concerto, with its five movements, choral finale and a length of over 70 minutes, is surely the most grandiose ever written. But this is no over-ambitious monster; Busoni was one of the greatest pianists the world has known, but he was also a great intellectual with very strong views on art and culture. This work is the masterpiece of his middle years, more of a symphony in the breadth and scope of its ideas, but at the same time almost casually requiring the most formidable technical ability from the soloist. There is no doubt that this is one of music's major neglected masterpieces.

It is surprising, given the popularity of the repertoire, that all the recordings of Saint-Saëns' complete concertos currently before the public pre-date the CD era and none of them are fully digital. In addition it has never before been possible to obtain all the composer's output for piano and orchestra on only two CDs. For these reasons alone this latest addition to the 'Romantic Piano Concerto' series is likely to become one of the most successful of all. The Gramophone 'Record of the Year' winning team of Stephen Hough and the CBSO are joined by their new principle conductor Sakari Oramo in performances which combine all the elegance required for the Frenchman's music with the utmost bravura. Saint-Saëns himself was a formidable pianist and his rare 1904 (!) 78rpm recording of Africa has until now been matchless; finally in Stephen Hough's performance he has a rival.

It was a clever idea to place all three of Rachmaninoff's large sets of variations on a single CD (in descending order of popularity and familiarity). The Paganini Rhapsody needs no introduction. The Corelli Variations are based on "La Folia," a theme used in several works from the Baroque period. Actually, the theme is from Portugal and not "of" Corelli at all, although Corelli made particularly good use of it in a composition of his own. When this fact was brought to Rachmaninoff's attention, he agreed to strike Corelli's name from the music's cover – but not from its title page! Nevertheless, the work has been known as the Corelli Variations ever since. The Chopin Variations are based on the C-minor Prelude from the Polish master's Op. 28 collection. This is the same prelude that Barry Manilow used as the basis of the song "Could it Be Magic?" in the 1970s.

Nikolai Lugansky and Sakari Oramo conclude their Rachmaninov cycle with the Second and Fourth Concertos, generally matching the proficient (though somewhat generic) standards characterising earlier releases in this series. The Second’s ample rubato and incisive climaxes are far better judged than in the recent, horrifically indulgent Lang Lang/Gergiev recording (DG, 4/05). And although Lugansky’s piano dominates in the mix, the first movement’s rolling arpeggios do not pull focus from the orchestra who, of course, have all the thematic material. In the slow movement I’d prefer a firmer, chamber-like profile between the pianist and first-desk wind soloists. You’ll also glean more ferocity and shapely characterisation from Stephen Hough, Krystian Zimerman, Sviatoslav Richter and Julius Katchen throughout the finale, but this is not to disparage Lugansky’s fleet, assured and world-class fingerwork.

One of the aspects that appeals to this listener about Nikolai Lugansky's approach to the perennial favorite piano concerti of Sergei Rachmaninov is the commitment to the organic feeling of each work. So often these concerti are served up as early career, flamboyant exercises to introduce the young pianist du jour to already accepting audiences. And at times the imprint on the works imposed by the various pianists is what remains in the hall after the performance, not Rachmaninov.

The British Project is composed of four separate performances by the City of Birmingham Symphony Orchestra and its young conductor, Mirga Gražinytė-Tyla, issued as digital-only single performances by the Deutsche Grammophon label during the pandemic and compiled into a single album in 2021. It's not clear whether the whole thing was in the performers' sights at the beginning, but it may as well have been; it's a coherent and effective program. With Elgar's lovely Sospiri, Op. 70, as a kind of preamble, Gražinytė-Tyla launches into Britten's Sinfonia da Requiem, Op. 20. This work is not exactly obscure, but it's a youthful piece much less often heard than its cousin, the War Requiem, Op. 66.

GRAMOPHONE RECORDING OF THE YEAR 1996. Scharwenka was one of the most beloved of musical figures during the late nineteenth and early twentieth centuries. His Concerto No 4 in F minor, written in 1908, was greeted at its premiere with astonishing enthusiasm from an audience ‘which may, without exaggeration, be said to have included almost every pianist – virtuoso, teacher and student – in Berlin’. Two years later Scharwenka was to give his first performance of the work at a concert in New York. The conductor was Gustav Mahler. Emil Von Sauer’s compositions have suffered from an even greater neglect, wholly unjustifiable, than Scharwenka’s. The E minor Concerto had already gone through eight printings by 1908 when he performed it in Chicago: “It was no matter for astonishment that when the pianist-composer had brought the work to its conclusion a storm of genuine enthusiasm should seep the house from gallery to floor … Mr Sauer represents a school of piano-playing that has all but vanished. The pianists who are now moulding the taste of the public are, one and all, engaged in the questionable task of reproducing with their instruments effects that are orchestral … but in the meantime we are in danger of forgetting the joys of pure pianism. To such joys Mr Sauer has awakened us.” Two first recordings, played by one of the greatest virtuoso pianists today.

Tragic love story: after her celebrated album with Benjamin Britten's “Sinfonia da Requiem”, the Lithuanian star conductor Mirga Gražinytė-Tyla is dedicating her latest release to a composition by William Walton that has hitherto hardly been noticed in this country: the opera “Troilus and Cressida”. The stage work is full of energy, drama and surprising twists. First performed in 1954 at the Royal Opera House in Covent Garden, the opera soon fell into oblivion and is no longer on the repertoire of major theaters. The publisher of William Walton must have guessed what was in the work, because after the composer died in 1983, his publisher suggested the music writer and arranger Christopher Francis Palmer to create an orchestral suite with the musical highlights of the opera.

For the second volume in his Birmingham Schubert symphony cycle, Edward Gardner turns to the Second and Sixth Symphonies. Composed between December 1814 and March 1815, the Second Symphony is not only a response by Schubert to the works of Beethoven, and especially the Prometheus Overture, but also strives to push the conventional symphonic boundaries, most notably in the extended exposition of the first movement. Completed in February 1818, the Sixth Symphony was the first to be titled "Große Sinfonie" (grand symphony) by Schubert, a mark of his growing confidence in his work in the symphonic idiom. The two Overtures were composed at the same time as the Sixth Symphony, and are clearly modelled on the overtures of Rossini, whose music was all the rage in Vienna at that time.