By now the critics had evidently made their peace with Gould’s wayward readings of Beethoven. His recording of the C-minor Concerto, again with Leonard Bernstein, met with general approval, even if Gould “yields more to his own nature than he should in the Largo” and “meanders and rhapsodizes without thinking that this movement, too, is by Beethoven.“

This was the concerto with which Gould gave his orchestral début, playing its first movement on 8 May 1946. “Who does the kid think he is, Artur Schnabel?” snorted one critic, while another touted the thirteen-year-old boy as a “genius.” Whatever the case, this was the Beethoven concerto he played most frequently in public—twenty-nine times.

The Prodigies album is a broad-ranging collection of virtuoso minatures for duet and dazzling solo works with the Auvergne Orchestra. The programme includes movements from Vivaldi's Four Seasons with which Camille ignited the stage live on France 2 TV, Bach's Double Concerto, Sarasate's Navarra, Brahm's Hungarian Dance No. 1, the searing theme from Schindler's List, and a personal favorite of Camille's Edith Piaf's La Vie en Rose. Gautier Capucon joins Camille in Piazzolla's soulful Oblivion.

The duo offers the most intimate dialogue between two musicians: a time when each musician himself up, and dig deep inside himself to express a melody inspired improvisation on the other, this is so magical. This magic has proved the first time that Nico Gori has performed with Fred Hersch. The two musicians met for the first time the North Sea Jazz Festival 2010 in Holland. Nico Gori then played with the Italian pianist Stefano Bollani and Fred Hersch Trio with her two. The two were immediately attracted by the sound of the other.

Daniel Barenboims first solo recording on the remarkable new concert grand Barenboim-Maene which he developed in collaboration with instrument maker Chris Maene.