Bernard Haitink's live recordings of Ludwig van Beethoven's symphonies with the London Symphony Orchestra most assuredly aren't the last word on these masterpieces (whose recordings ever could be?), but any collector looking for solid performances that satisfy most needs would do well to check out these remarkable CDs. For example, this 2006 disc of the Symphony No. 4 in B flat major and the Symphony No. 8 in F major will likely not amaze anyone with its fairly mainstream interpretations, secure execution, or dependable sound quality, because it wasn't meant to be a sensation. The reputable playing of this world-class ensemble guarantees that the scores are accurately presented, and Haitink's straightforward, intelligent approach to the music commends this CD to the average listener and the serious connoisseur alike. While Haitink tends to maintain slightly faster than usual tempos and keeps the orchestra's tone on the lean side, these are not intended to be "authentic" versions; yet they are as carefully thought through and as polished as any period performance might be, though without any overt mannerisms or antiquarian novelties. The sound is exceptionally clean and clear on these concert recordings, even in the resonant space of London's Barbican, and there is virtually no distracting audience noise to interfere with your listening pleasure. © TiVo

First of all, what a line-up of Berlin's top musicians and regular collaborators Emmanuel Pahud has assembled here: Daniel Barenboim on piano; Pahud's fellow Berlin Philharmonic principals, concertmaster Daishin Kashimoto and violist Amihai Grosz; flautist Silvia Careddu, founder member of the Alban Berg Ensemble Wien; and Sophie Dervaux, former Berlin Philharmonic Principal Contrabassoon and now Principal Bassoon of the Vienna State Opera Orchestra and Vienna Philharmonic. Plus, they've recorded in Berlin's Pierre Boulez Saal, i.e. one of the best possible places to hear chamber music, with its stunning combination of warmth and clarity. Moving on to the musical contents, and Beethoven's slim body of chamber works for flute is all confined to his early career. In fact so early that two of the works here date from his Bonn period (during his late teens and early twenties) as a piano teacher and court musician: the posthumously published Trio in G for piano, flute and bassoon of 1786, and the Allegro and Minuet in G WoO 26 for two flutes of 1792, written for his law student friend, J.M. Degenharth, and featuring a dedication page playfully informing the reader that it was written “in the evening”. Also on the menu is the Serenade in D Op. 25 for flute, violin and viola, sketched in 1797 and completed in 1801. What this means in stylistic and mood terms is sunnily charming entertainment music cast firmly in Beethoven's earliest post-Haydn language, and far removed from the emotional turbulence of his later years; in other words, absolutely perfect music to be gifted with at the dog end of Covid-wrecked 2020, and especially when the playing from everyone is so joyously elegant, crisp, bright and responsive. Still, Pahud clearly thought that a little more meat was required for the curtain raiser. So all the above is preceded by his own flute transcription of the “Little G Major” Sonata in G for violin and piano of 1802: still a sunnily carefree world, but equally a sparkingly sharp-witted one, piling on fresh interest at every turn. It also sits very well on the flute, so perhaps further transcriptions might come our way in the future via Pahud's hand. In the meantime, from this one we can enjoy the dainty athletic pep and lucid textures Pahud and Barenboim bring to its outer movements, the lyric grace and sensitivity of their central Tempo di Menuetto, and overall Barenboim's deft shaping, and in partnership terms their mutual sensitivity and sense of equality. In short, a great addition to the Beethoven recordings catalogue. © Charlotte Gardner/Qobuz

The Gewandhaus Orchestra's history of playing the nine symphonies of Ludwig van Beethoven extends back to 1825, when the composer was still alive, and these masterworks have been a mainstay of its repertoire ever since. After Riccardo Chailly took the helm of the Gewandhaus Orchestra in 2005, the idea of performing the full cycle for Decca under his direction became an imperative, and these recordings of the Symphony No. 7 in A major and the Symphony No. 8 in F major were made in 2008 and 2009, respectively, with the Overture to The Ruins of Athens and the Egmont Overture also recorded in 2009. Chailly's Beethoven draws on the traditions of performance long honored in Leipzig, so the interpretations of the symphonies have more than a little of historically informed practice about them while still being mainstream performances. Tempos are generally brisk, and textures are immaculate, while the strings play with minimal vibrato, and the winds offer distinctive and colorful sonorities. So the ideals of authentic period practice are realized without annoying mannerisms, and the music has the dynamic flexibility and robust qualities that everyone wants in Beethoven. Decca's sound quality is crisp and clean, with nearly ideal resonance.© TiVo

This is about as appealing a disc of Rachmaninov's complete preludes for piano as one is likely to hear, but its impact may not be immediately evident. That caveat might at first seem a bit odd considering the first piece here is the famous Prélude in C sharp minor, one of the best known, as well as one of the loudest works the Russian composer ever penned, and one might reasonably expect that it would start the disc off with a bang. But Russian pianist Boris Berezovsky takes another approach to the work; rather than starting with the climax and trying vainly to get bigger and louder from there, he builds slowly and purposefully to a shattering climax that not only makes the performance, but redeems the piece from a century of brutal mistreatment. Berezovsky continues that approach throughout his performances, carefully and scrupulously sculpting each prelude, yet never skimping on passion, power, and energy, and ultimately delivering an effective and exciting set of performances. Though the digital sound of this 2004 recording is not quite as clear as it could be, it does have tremendous impact. © TiVo

The tale of American composer Leonard Bernstein is at the centre of the film Maestro, released in September 2023 on Netflix and starring Bradley Cooper. The biopic retraces the immense career of a man who first became familiar with classical composers like Schumann, Strauss, and Beethoven, before skyrocketing to worldwide fame as Broadway’s star composer. Musical theatre, film music, ballets, symphonic works…this musical eclecticism is transcribed in the soundtrack for Maestro, created by one of his greatest fans, conductor Yannick Nézet-Séguin of Québec. Much of the music features Bernstein’s own works, such as “On the Town” (1944) and “Fancy Free” (1944), as well as “West Side Story” (1957) and “Mass” (1971). The album also includes the likes of Mahler and Beethoven, composers that greatly influenced Bernstein: the legendary 1973 “Symphony No. 2 ‘Resurrection’” concert with the London Symphony Orchestra is presented in the film, conducted by director and lead actor Bradley Cooper, who reincarnates this legend of 20th-century music. © Lena Germann/Qobuz