Someday My Prince Will Come is a worthy salute from Hank Jones on piano, his brother Elvin Jones on drums and Richard Davis on bass. The session is Hank's final collaboration with his brother, who died in May of 2004. The somewhat conservative collection of ten songs commands more respect than awe, but Elvin fittingly delivers many of the album's sharpest and freshest moments.

Julia Lezhneva, Franco Fagioli and Diego Fasolis: three stars of the Baroque unite to record Vivaldi’s most popular choral work.

Andrew Manze’s interpretations of Vaughan Williams’ Symphonies have been met with acclaim from audiences and critics alike. This third album in the series contains two masterpieces. The 5th Symphony of 1943 displaying a ‘greatness of soul’ as one commentator at the time wrote, draws on material for ‘The Pilgrims Progress’ from 1906. The 6th Symphony of 1944-7 stunned the audience at its premiere – some tried to explain the works last movement as depicting a nuclear wasteland.

Underplayed, under-recorded, and quite underappreciated, the repertory for two unaccompanied violins rose in popularity in the first decades of the eighteenth century. But few listeners are aware that Antonio Vivaldi was among the first to experiment with this genre, in a little-known set of four sonatas which, according to a fascinating hypothesis, he might have composed for performance in tandem with his father during his tour of central Europe in 1729-30.

Julien Brocal’s debut album of Chopin Preludes and the 2nd Sonata was praised by critics when released last year. ‘A protégé of Maria Joao Pires, Julien Brocal has a lot to live up to, and this disc the first for both him and the new label Rubicon – does so beautifully’ Guardian, *****

After making several discs of chamber music by Brahms and Schubert, the cellist Marie-Elisabeth Hecker now records a large-scale concerto, showing the full range of her talent. Composed between 1918 and 1919, Elgar’s Concerto Op.85 was poorly received at its first performance but has since become established as one of the key works in the cello repertoire.

Josef Kämpfer (1735–88?) A cavalry officer in the Hungarian army, self - taught double bass virtuoso and double bass designer led a peripatetic life moving through musical circles at the highest levels in Austria, Germany, Paris, London and St Petersburg. On his travels he met Leopold Mozart, the Haydn brothers, Vanhal, and many of the most famous musicians of the day. His specially made and extra large instrument, to his own specifications was known as ‘Goliath’ and astonished audiences wherever he performed.

I heard Trio Nuori in concert for the first time in 2011. Amongst other pieces, it was the performance anthology of the wonderful Trio Opus 83 by George Onslow which made a lasting impression on everybody that evening. They came back several times to the Concerts de Vollore Music Festival, performing Alexis de Castillon, whose Trios they recorded on the Ligia label, followed by Alkan’s Trio. So, when I discovered the marvellous piano compositions of Henriette Renié, it seemed obvious to me to suggest to them that they record these pieces which have so regrettably remained in the shadows.

The present album brings together works that may appear at first sight to have nothing in common: “serious” music and “light” music, Baroque music with an unequivocally Christian point of reference and 20th-century music that can trace its origins to street music: sonatas on the one hand and dance music on the other.

The Freiburger Barockorchester, directed from Gottfried von der Goltz’s violin, released a brand new recording of Telemann’s rare Passion, entitled Seliges Erwägen (Contemplative Meditations). More than just setting to music the story of the passion of Christ, such as Bach did, we hear in this score a succession of meditations.

Myaskovsky’s two cello sonatas are woefully neglected works and deserve far wider circulation – romantic and passionate they make a worthy alternative to Rachmaninov’s famous sonata. Coming from the early and late years of the composer’s life, the 2nd sonata was written for Rostropovitch, who championed it and ensured all his pupils studied and learned it. Prokofiev’s Ballade op15 is an expansive work from his early years and like the Myaskovsky sonatas rarely heard. Pavel Gomziakov and Andrei Korobeinikov are persuasive advocates for these delightful works.

The centrepiece of this French-themed recital by Kyung Wha Chung and Kevin Kenner is the splendid violin sonata by César Franck. It is a work long associated with Chung, described by the Financial Times as "one of the greatest violinists of the last half-century". Newer to Chung's repertoire is Fauré's Sonata No 1. As she told Strings magazine, each of the works constitutes "a whole portrait of life itself," and she drew a comparison with Monet's paintings: "The reflection of light has endless possibility. The same thing applies to the texture and the sound when you're playing. There are millions of sounds."

Beethoven’s op.12 set of three violin sonatas had been praised for their technical prowess, but criticised for the abrupt changes in mood, one critic saying (1799) he felt as if he was starting out on a pleasant stroll in the country with a friend, only to end up entangled in bushes and brambles, to return home in a bad mood. Beethoven who was notoriously touchy when it came to such reviews, responded with two sonatas that could not be more extreme in character.

Florian Christl never formally studied composition or the piano. He simply sits down at the piano and writes music that lifts your thoughts and emotions, giving them free flight, like a dream for the soul. Inspiring, full of love, hope, longing and beautiful melodies. Florian grew up in a small town in Bavaria. He loves the outdoors, the quiet of the forest, and the peace of the mountains. His greatest passion has always been making music and he spent every free moment at the piano. During his studies Florian worked as a student trainee with Sony Music. One of his colleagues was so impressed by his music that she used some of his tunes for a presentational video and in a playlist. This is how the classical department became aware of Florian.

The sultry grit of “Can’t Call It Love” kicks off the album, followed by the bold R&B stomp of “Snakes,” a warning sent to Deva’s younger self (and girls like her) to watch out for people with less than your best intentions in mind. The late-night groove of “Turnt Up”, (a duet with Allen Stone), sways under the trance of Deva’s whiskey-soaked seductiveness, and Stone’s equally sly counterpoint, while the elegiac spirituality of “Fire” traces a path through trial and demons. The album’s title track is a celebration of the power of music itself, featuring Deva’s sister Coco Peila; despite its title, “Dream” is a clear-eyed, wide-awake reflection on a love gone wrong.