Back catalogue: Classical

Review: In 2018, three-time Grammy Award-winning violinist Hilary Hahn returned to classical label-behemoth Deutsche Grammophon (her usual) for an official album of interpretations of J.S. Bach's violin concertos, in collaboration with Jeffery Kahane and the Los Angeles Chamber Orchestra. The much-celebrated fiddler laid down a stunning, full rendition of the concertos, all recorded at the Colburn School Of Performing Arts and which added to her huge repertoire. This stealth reissue from the classical music giant bolsters Hahn's rep once more.

Review: Continuing his lengthy tour of JS Bach's works, Vikingur Olafsson shares his next mini-album: a recording of several Bach 'singles' - that's individual pieces rather than 45s - performed live at Reykjavik's Harpa concert hall in January 2024. Building on his deep-rooted passion for the works of the pioneering German composer, the classically trained Olafsson lends his own subtleties to four of Bach's cantatas, as well as two further sacred songs, amounting to a more than touching suite. Chief among these in our estimation is 'Komm, suBer Tod, komm selge Ruh' ('Come, sweet death, come, blessed rest'), which was likely written by Bach in the twilight of his life: the theme alone is morbid and tearjerking enough, yet Olafsson's dexter Icelandic hands bring a trademark coldness, an exactness, that only he could summon.

Review: Deutsche Grammophon's celebration of its 125th birthday takes audiophiles on a sonic journey with the release of The Original Source series. Rafael Kubelik's interpretation of Bela Bartok's Concerto for Orchestra, recorded with the Boston Symphony Orchestra in 1973, stands out as a timeless gem. Remastered at Emil Berliner Studios in 100% analog quality, the result is astounding. The audiophile vinyl edition, pressed on 180g records and housed in deluxe gatefold packaging, offers an unparalleled listening experience. With enhanced clarity, subtleties, and frequency response, Kubelik's relaxed yet precise rendition shines anew. Background noise, distortion and compression are minimised, allowing Bartok's vibrant orchestrations to captivate with newfound brilliance. Accompanied by original covers, lyrics, and additional archival materials, each numbered copy becomes a cherished collector's item. The meticulous attention to detail, coupled with the technical prowess behind the remastering process, ensures that listeners can relish in the full glory of Kubelik's enduring interpretation for years to come.

Review: Claudio Abbado and the Vienna Philharmonic's inaugural joint recording of Brahms's Symphony No. 1 in 1972 holds a significant place in both their discographies for its exceptional interpretation and sound quality. To commemorate Deutsche Grammophon's 125th anniversary, they launched The Original Source vinyl series, presenting legendary 1970s recordings in unprecedented sonic clarity. Remastered at the renowned Emil Berliner Studios from original four-track tapes using cutting-edge analogue technologies, these limited and numbered 180g vinyl editions boast enhanced clarity, subtleties, and frequency response. Each deluxe gatefold edition includes original covers, lyrics, additional photos, recording logs and technical insights.

Review: To mark Anton Bruckner's bicentenary in 2024, Deutsche Grammophon releases a limited and numbered audiophile vinyl edition of Herbert von Karajan's famous recordings of the complete symphony cycle with the Berliner Philharmoniker, on 17 LPs. All recordings have been newly mastered and mixed by Rainer Maillard and Sidney C. Meyer from Emil Berliner Studios: Symphonies Nos. 4-7 (analogue recordings from 1975-1979), based on 8-track material were treated according to the Original Source Series standards. Symphonies Nos. 1, 2 & 3 are digital recordings from 1980 and 1981 and have also been newly mastered and cut by the same team at EBS, optimizing the sound by utilising new bespoke analogue-to-digital-to-analogue conversion technologies and using a tube-based mixing console from 1960. The 17xLP set is housed in a slipcase with O-card, with eight 2xLP gatefolds (Symphonies Nos. 2- 9) and one single sleeve (Symphony No. 1) presented in a sleeve (1 LP), with artwork based on the respective original releases including liner notes and with additional material including recording documentation and photos.

Review: Maurizio Pollini's new release marks his 70th birthday with a collection of Chopin's works, including the 24 Preludes Op. 28, the two Op. 27 Nocturnes, and the Second Scherzo. Notably, the inclusion of the four Op. 30 Mazurkas, previously absent from Pollini's discography, unveils an unexpected affinity for this genre. The Mazurkas are particularly revealing: Pollini's interpretation of the D-flat No. 3 exhibits dynamic accents and rhythmic vitality, while his voicings in No. 4's left-hand chords reflect a keen imaginative touch. Such elements suggest a promising future for a more extensive Mazurka exploration in Pollini's future recordings. The decision to revisit the Op. 27 Nocturnes, previously recorded in 2005, may seem puzzling. The earlier rendition of the D-flat major Nocturne offers a more fluid right-hand melody compared to the newer, stiffer version. Conversely, the C-sharp minor Nocturne benefits from a more defined presentation of its left-hand ostinatos in the new recording. The Second Scherzo, now nearly a minute shorter than its 1990 counterpart, is more compact and precise, with pronounced dynamic contrasts enhancing the outer sections. However, the Trio's leggiero passagework, once vibrant, now appears more generalised, possibly due to the recording's resonant ambience at the Herkulessaal in Munich. Pollini's latest Preludes suggest a more austere interpretation than his acclaimed 1974 recording. While the earlier Preludes feature varied textures and nuanced articulations, the new versions reveal a less flexible approach, with notable differences in the handling of arpeggios and rhythmic accents. Nevertheless, the new Nos. 13 and 15 stand out for their robust left-hand presence and vibrant tempos. The final Prelude's resonant D-naturals, sustained with pedal, contrast with the earlier version's clarity, highlighting Pollini's willingness to explore different interpretative avenues. Although this recording presents compelling elements, Pollini's 1974 Chopin Preludes remain a more consistent experience overall. Yet, this release demonstrates Pollini's commitment to continual artistic evolution, refusing to rest on past achievements as he enters his eighth decade

Review: Alice Sara Ott is a German-Japanese pianist and her new album finds her sinking herself down deep into the world of John Field, the creator of the beloved 'Nocturne' sound. The Nocturne is a widely cherished musical form yet its creator remains largely unknown today. An Irish composer who lived during Beethoven's time, Field's work profoundly influenced Chopin and generations of musicians since and with this album, Ott highlights Field's historical significance as well as offering up a standing album full of merit. It is a great way to get into the origins of the Nocturne."