Wilhelm Furtwängler has left us with 112 live concert recordings. Many connoisseurs consider that his most unforgettableperformance was that of 7th October 1944 in the Berlin Beethoven-Saal, attended by Hermann Göring. The programmefeatured Bruckner’s last (unfinished) symphony, and closed with the adagio from Symphony No 7.

A wonderful reading it is, as authoritative as its predecessors and every bit as well played but somehow more profound, more humane, more lovable if that is a permissible attribute of an interpretation of this Everest among symphonies. […] It is the sense of the music being in the hearts and minds and collective unconscious of Karajan and every one of the hundred and more players that gives this performance its particular charisma and appeal.

"Er brennt Feuerwerke klanglicher Vielfalt und virtuoser technischer Zauberkunst nieder", schreibt der "Spiegel" über den jungen Marimbaspieler Christoph Sietzen, der laut "Gramophone" einer der besten Multi-Percussionisten weltweit ist.

The Pacific Northwest offers up a rich feast of land, sky, and water. It is ripe with influences, abundant with symbols, deep and spirited. It should, therefore, come as no surprise that the Grateful Dead played some of their most inspired shows on these fertile grounds. It does, however, sometimes take a breath for the elements to re-align years later. It seems for us, they finally have and we are able to present not just a glimpse of the band's extraordinary exploratory tour through the region, but a two-tour bounty as the PACIFIC NORTHWEST ’73-’74: THE COMPLETE RECORDINGS.

Gershwin Reimagined: An American in London features pianist Shelly Berg and the Royal Philharmonic Orchestra, conducted by José Serebrier, with special guest artists.

Chopin wasn’t one for endowing his compositions with poetic titles. Unlike his contemporary Robert Schumann, the composer kept the titles of his work fairly simple, with no literary references such as those found in the poetic evocations of Carnaval or Kinderszenen to assist the imagination. But when, in the mid-1830s, Chopin presented a new piece naming it “Ballade,” Schumann noted that Chopin was the first to apply this literary term to a musical work. What was the nature of this new genre for solo piano? What kind of story was it telling?