Back catalogue: Classical

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: 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: Alexander Gibson's Gounod: Faust Ballet Music finds him conducting the Royal Opera House Orchestra, Covent Garden. They are performing ballet music from Charles Gounod's Faust and Georges Bizet's Carmen Suite and amongst the suite of songs are plenty of highlights. Side 2 in particular is packed with some terrifically moving pieces that are recorded with great clarity and transparency. For this album, Analogue Productions decided to press from Bernie Grundman parts that have before been used for an earlier Classic Records edition.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Austrian conductor Herbert von Karajan is a famous interpreter of not only Gustav Mahler but many other classical music composers and his many stints with the Berlin Philharmonic orchestra make up only one small part of his conductive retinue. Though it was Mahler's ninth that really made Karajan's name, this lesser-heard work documents another expressionistic interpellation by the maestro, whose handling of the suite's musicological contexts (incorporating directive elements from Mahler's influences, from Berg to Webern), and Scherzo style, is performed with phenomenal ease. Brasses resound brilliantly and brightly, and singer Christa Ludwig gives a stellar rendition of Mahler's concluding five lieder (art songs).

Review: Austrian conductor Herbert von Karajan is a famous interpreter of not only Gustav Mahler but many other classical music composers and his many stints with the Berlin Philharmonic orchestra make up only one small part of his conductive retinue. Though it was Mahler's ninth that really made Karajan's name, this lesser-heard work documents another expressionistic interpellation by the maestro, whose handling of the suite's musicological contexts (incorporating directive elements from Mahler's influences, from Berg to Webern), and Scherzo style, is performed with phenomenal ease. Brasses resound brilliantly and brightly, and singer Christa Ludwig gives a stellar rendition of Mahler's concluding five lieder (art songs).

Review: Marking the beginning of Austro-Bohemian romantic-era classical composer Mahler's deep engagement with themes of resurrection and transcendence, Symphony No. 2 stands as his first fully personal statement in the form. Claudio Abbado's recording with the Chicago Symphony Orchestra remains one of the most striking interpretations available; spanning the breadth of Mahler's vision, from the luminous serenity of the softer passages to the thunderous force of its climaxes. This new edition revisits the original four-track tapes, offering a freshly remixed and recut version.