This recording of one of Haydn’s greatest masterpieces is not to be missed. Those who are familiar with Colin Davis’s recordings of the Haydn London Symphonies, made over 30 years ago with the Concertgebouw Orchestra, will know that he has a special affection for this composer’s music and unfailingly communicates his love of it to both performers and listeners alike. Surprisingly this would appear to be the first time that he has recorded Haydn’s Creation, but it has been worth the wait.

Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz's best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of "Comin' Home," Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride.

Sarah Dash (born August 18, 1945) is a singer and actress. Her first notable appearance on the music scene was as a member of Patti LaBelle & the Bluebelles. Dash has had a full career, moving from singer, to songwriter, session musician, sideman for famous bands that include LaBelle, The Rolling Stones, and Keith Richards.

Each appearance of Atsushi Sakai and Christophe Rousset leaves an unforgettable memory with those who have had the good fortune to hear them commune on stage. Long-standing partners, they now join together for the first time on disc for a composer they worship: the mysterious Antoine Forqueray. Born in 1672 in Paris, he was, with Marin Marais, one of the greatest gambists of all time. Famed for his virtuosic improvisations, he published none of his 300-odd pieces and died in 1745 in Mantes where he had moved in 1731, after having suffered serious financial setbacks, especially in the course of Law’s bankruptcy. Aside from a few handwritten pieces copied in the collections of other composers, Forqueray’s pieces have been lost.

The 15th edition of the Progetto takes place in June 2016, shortly after Argerich’s 75th birthday – it is hard to believe that 51 years have passed since she triumphed at the seventh International Chopin Competition in Warsaw, where one of the judges (Eugene List) Argerich remains a phenomenon, both as a supreme pianist and as a dynamic, much-loved mentor to young musicians.

The music of Gustav Mahler, the Late Romantic composer on the threshold of modernity, has been a firm part of the repertoire of the Symphonieorchester des Bayerischen Rundfunks ever since the early 1960s, when the orchestra's Mahler tradition was established by its former chief conductor Rafael Kubelik. BR-KLASSIK has already released Mahler's First (as part of an audiobook CD) and Seventh Symphonies with Mariss Jansons, as well as the Ninth with Bernard Haitink. The young Canadian conductor Yannick Nézet-Séguin is making his debut here on the BR-KLASSIK label with Mahler's First Symphony.

There are always two caveats with any recording by Canadian pianist Glenn Gould. First, Gould was always humming and moaning along with his own performances. Second, he fooled around with tempo, articulation, rhythm, form, structure, and expressive markings. This means potential listeners must always be advised that any expectations they bring to the music will almost always be utterly confounded by Gould's performance. So it is here in his 1974 recording of Beethoven's Bagatelles Opp. 33 and 126.

The Japanese harpist Naoko Yoshino has performed with orchestras such as the Berliner Philharmoniker, Concentus Musicus in Vienna, Philadelphia, Leipzig, or Zürich - which such illustrious names as Harnoncourt, Menuhin, Mehta, Ozawa, Blomstedt, Kremer, Hagen, Rampal… Upon their first meeting in 2013, Naoko felt as if she had found her 'musical soul mate' in Roberto Forés Veses and the Orchestre d Auvergne. This recording is the result of their special relationship and includes works which are some of the most beautiful of the harp repertoire.

After four previous discs devoted to Franz Liszt’s transcriptions of the Beethoven symphonies, the pianist Yury Martynov completes the cycle with the transcription of the Ninth Symphony. The reduction of this complex work for a single piano and two hands – he had already adapted it for two pianos – constituted a genuine challenge for Liszt, who was obliged to omit certain inner parts. Yet he succeeded in reproducing the symphony’s prodigious character and revealing its incredible power.

Just in case the title One More for the Road didn't suggest Sinatra, Curtis Stigers underscores his debt to the Chairman of the Board by patterning the artwork for this 2017 collaboration with the Danish Radio Big Band after 1966's Sinatra at The Sands. In fact, One More for the Road is something of a salute to that 1966 record, containing eight songs from that double album and adhering to the snazzy swing of late-period Frank. Stigers even channels that sensibility into "Summer Wind," a gentle breeze of a single, and that's one of the distinguishing factors of One More for the Road. Another distinguishing factor is the cheerful blare of the Dutch Radio Big Band, who are big and brassy without overwhelming the singer.

As orchestras and conductors have been demonstrating for more than a century, you don't have to be Bohemian to play Dvorák. All you need is profound musicality, a deep love of life, and an overwhelming urge to communicate. These are all qualities that Ivan Fischer and the Budapest Festival Orchestra demonstrate in full in this 2000 Channel Classics recording of the composer's Eighth and Ninth symphonies. In these performances, one hears not only edge-of-the-chair excitement from the Hungarian musicians, one hears joy, happiness, and good old-fashioned fun. Listen to the rollicking horn trills in the Eighth's Finale, the thundering timpani in the Ninth's Scherzo; the interplay between winds, strings, and brass in the coda of the Eighth's Scherzo; the lush string tone in the Ninth's Largo; the headlong rush of the Eighth's opening Allegro con brio; or the awesome power of the Ninth's closing Allegro con fuoco.