Introducing a brand new artist to the DG label: contemporary Dutch composer/pianist Joep Beving. Described online as a friendly giant , Joep creates genuinely relaxing and contemplative neo-classical music with a broad and immediate appeal. Music which displays introspective, melancholic, filmic and uplifting characteristics presented in a simple, warm acoustic atmosphere.

Regardless of her age, this stunning disc confirms her as one of the world's leading musicians… Here it feels as if she is off the leash a bit, allowing herself to broaden out and savour the moment. She channels great feeling (at times the violin fairly weeps) without sounding lachrymose. Muller-Schott matches her for lyricism and virtuosity in the Double Concerto, which he, Fischer and Kreizberg invest with beauty and, increasingly, a sense of urgency. In all, a fabulous disc, which repays playing again and again. Actually, you probably won't be able to help yourself.

Yundi makes his return to Universal and Deutsche Grammophon, conquering new grounds with his first ever Beethoven recording. The album focuses on the composer’s most beloved and romantic piano works, the three name sonatas: Moonlight, Pathétique and Appassionata.

For this second volume in the Haydn 2032 project, the complete recording of his symphonies, Giovanni Antonini has chosen to put forward the Symphony Der Philosoph. He associates with it a symphony by Wilhelm Friedemann Bach, eldest son of the Kantor of Leipzig, who is generally considered the most gifted of his sons. Different reasons brought these two great composers the originality and sometimes eccentricity that characterize their works, one suffering from the fame of his father, the other from his own genius. Whereas Haydns symphonies differentiate themselves by form, orchestration and keys, W. F. Bachs begins in the style of a Baroque overture, gradually turning into a tempestuous piece and perhaps already reflecting the transition from a Golden Age to the more tormented world that will follow the Age of Enlightenment.

In perusing CDs of Mozart's sonatas for piano and violin, a lot can be guessed in advance by noticing which performer is featured prominently, and who is relegated to second place. In these sonatas the violin is minimized to an obbligato accompaniment. Legendary pianist Mitsuko Uchida is clearly the dominant partner, and rising violinist Mark Steinberg is only her deferential sidekick.

On his first concerto disc for Deutsche Grammophon and his first devoted to works by Mozart, Maurizio Pollini performs two perennial favourites: the sunny A major work and the lively F major K.459 with its overwhelming fugato finale. The veteran conductor Karl Böhm and sumptuous accompaniments by the Vienna Philharmonic provide the perfect background to Pollini’s immaculate playing.