Mezzo-soprano Bernarda Fink is a remarkably versatile singer, but she has devoted the bulk of her career to the music of the Baroque. Her impeccable technique, fluent coloratura, and warm, pure tone make this an ideal repertoire for her. She tends to convey a sense of dignity that can come across as reserve. When called upon, as in more emotionally charged repertoire, she can generate the necessary passion, but her naturally dignified musical demeanor ideally suits these Bach cantatas.

Sony Classical continues its major Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”. The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.

The recordings released in this series are devoted to the music of Bach, never a specialty among Russians, and they have the feeling of something extreme, developed in isolation. Feinberg plays Bach, perhaps, as Liszt might have heard Bach and played him – with maximum use of the pedals, a full range of dynamics, and an approach that in every way transforms Bach into an arch-Romantic. This disc, in the label's Feinberg series, is perhaps the most extreme of all, for here the artist tackles not only piano works but those for organ – the listener is treated not only to Feinberg's interpretations but also to his transcriptions. Sample the booming bass lines of the group of chorale preludes in the middle of the program. Of course, the line between transcription and interpretation in this case is not terribly clear. Taken as a whole, the Chromatic fantasia and fugue, BWV 903, leaves the impression that the music has been pushed nearly as far as in Busoni's Bach transcriptions; it's not Bach, really, but it's quite a thrill.

Carlos Kleiber was perhaps the most highly regarded conductor of the late 20th century, but his relatively few excursions into the studio have left the musical world with a frustratingly small number of recordings. Thus we are particularly fortunate that, from among the relatively few appearances in his career, several concerts, one operetta and two operas were filmed. This concert with the Bayerisches Staatsorchester from Munich's Herkulessaal in October 1996 was on of his last.

Vladimir Martynov, born in 1946, is one of the cohort of composers that includes Arvo Pärt, Giya Kancheli, and Valentin Silvestrov, who grew up under the influence of the former Soviet Union and abandoned the modernism of their youth to embrace a tonal language of greater simplicity with an aesthetic informed by an intimate spirituality. In spite of the similarities in their backgrounds and journeys, each has a distinctive sound, and Martynov, who is perhaps the least well-known in the West, brings a new perspective to the tradition of European music shaped by mysticism and minimalism. On the surface Martynov's music doesn't have an immediate resemblance to minimalism (apart from the directness of its tonal language), but like minimalism it uses repetition as a structural element and it is concerned with the perception of the passage of time, which it tends to stretch out with almost unbearable poignancy into what commentator Greg Dubinsky describes as "a prolonged state of grace." His harmonic vocabulary is characterized by the fecund tonal richness of post-Romanticism without the angst or decadence sometimes associated with the music of that era.

Felix Mendelssohn Bartholdy was born in Hamburg in 1809 and died in Leipzig at the age of 38. He was very early musically gifted. Mendelssohn performed in public at the age of 9 and composed already from the age of 11. As a pupil of Friedrich Zelter, who was a friend of Goethe, Mendelssohn composed at the age of 17 his first masterpiece: the Overture to the Midsummer Night's Dream. This is included in the extensive CD box as well as a large number of other known or less known pieces by him. The String Quartet in F Minor Op. 80 - written in memory of his beloved sister Fanny - which was recorded in this collection by the Aurora String Quartet is undoubtedly one of his most beautiful works. The Gächinger Kantorei with Helmuth Rilling, the Bach Collegium Stuttgart, the Bartholdy Piano Quartet, the Heidelberger Sinfoniker with Thomas Fey, Ana-Marija Markovina and other renowned interpreters and orchestras can also be heard.

Sony has packaged this album like a 1980s disc of music to snog by, but the saxophonist Amy Dickson’s new release is an intriguing and entirely serious collection of recent works by Australian composers, works she did much to create. The title work, premiered by Dickson in 2012, is a late score by Peter Sculthorpe. The first movement is sun drenched and full of yearning, the saxophone soaring over a teeming orchestra; the second is a more unsettled expression of homesickness. Ross Edwards’s concerto entitled the Full Moon Dances – recorded, unlike the rest, live in concert – is elegantly scored and evocative, especially in the opening Mantra, in which the saxophone interweaves with the orchestral soloists, and in the pulsing, almost Stravinsky-esque First Ritual Dance. But it is Brett Dean’s 2007 flute concerto The Siduri Dances, here arranged for saxophone, which offers the most wide-ranging demonstration of Dickson’s mastery with its note-bending, buzzing effects and hectic rhythms.

For many listeners, the keyboard works of Gabriel Fauré epitomize French music of the fin de siècle, typically because its languorous melodies and subtle harmonies are at times evocative of late Romantic parlor music. Yet Angela Hewitt defends Fauré's piano music from such a superficial judgment, demonstrating that it is much more substantial in content than the conventional piano pieces of the time, and that the difficulties one encounters in his music are akin to the complexities in Bach. Hewitt's polished performances of the Thème et variations, two Valses-caprices, three Nocturnes, and the Ballade are proof of her longtime commitment to this music, and her penetrating insights into Fauré's expressions and technical artistry reveal levels of inventiveness that are often missed in less competent performances. Of course, having played Fauré for most of her life, Hewitt has intimate knowledge of the music, and her sensitivity and control communicate precisely the effects she wishes, so the music never seems sloppily sentimental or vaguely sketched.

The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.

This is the third in a series of "Discovery" discs dedicated to unknown or rare works by three famous Italian composers, Rossini, Verdi and now Puccini. Chailly had already recorded some Puccini rarities in the early 80's but this new issue contains quite a few works that never seem to have seen the light of day.

The piano may not be the ideal medium for capturing the expressive possibilities of Glass' style of minimalism, but pianist Bruce Brubaker selects pieces that work well on the instrument. Part of the problem with hearing Glass on the piano is forgetting the sound of his ensemble, and the variety of colors (and volume) they have imparted to similar music. Brubaker begins his recital of works by Glass and Alvin Curran with his transcription of "Knee Play 4" from Einstein on the Beach. It is in fact a lovely piece on the piano if one can put the spectacular power and tonal range of the instrumental version out of one's mind. "Opening" from Glassworks, originally scored for piano, works beautifully on the instrument, and flows as naturally as the C major Prelude from Book I of The Well Tempered Clavier. The two pieces by Curran, Hope Street Tunnel Blues III and Inner Cities II, use a syntax similar to Glass, with a more dissonant tonal vocabulary. Hope Street Tunnel Blues III has ample kinetic energy that gives it an exhilarating momentum.

The Végh Quartet was not only one of the finest string quartets from mid-twentieth century Europe, but its style was never subjected to radical change over the years from personnel changes because the four original players remained members for 38 of the 40 years of the ensemble's existence. Its style evolved in subtle ways, of course, but its essential character endured until 1978: the quartet was Central European in its sound, with a bit more prominence given to the cello in order to build tonal qualities from the bottom upward. The Végh Quartet was best known for its cycles – two each – of the Beethoven and Bartók quartets. It also performed and recorded many of the Haydn quartets, as well as numerous other staples of the repertory by Mozart, Schumann, Brahms, and Debussy. For a group that disbanded in 1980, its recordings are still quite popular, with major efforts available in varied reissues from Music & Arts, Archipel, Naïve, and Orfeo.