Vladimir Ashkenazy's style of conducting, not dissimilar to his keyboard style, is unmatched in the development of long climaxes, exploding in the end with a surge of precise power. Sibelius is one of the composers most suited to his style, and you can confidently pick from among his recordings of the Finnish master. His reading here of the Symphony No. 1 in E minor, Op. 39, the most purely Tchaikovskian work among Sibelius' seven symphonies, is among the very best available, with awe-inspiring control in the development of the first-movement material and the emergence of a superbly responsive instrument in the Royal Stockholm Philharmonic, whose recordings of large-orchestra music in recent years have been second to none.

Conductor Nicholas Collon’s second Sibelius album together with the Finnish Radio Symphony Orchestra focuses on works written by Sibelius during or just before World War I, and culminating in the 5th Symphony, one of the composer’s symphonic key works. Two opuses for violin and orchestra, Two Serenades and Two Serious Melodies, one of Sibelius’ most religious works, are featuring star violinist Christian Tetzlaff. Sibelius’ music for Strindberg’s Symbolistic play Swanwhite is a rarely performed gem with interesting thematic connections to other works included on this album, including the 5th Symphony.

Jacques Ibert’s piano music isn’t exactly the most exciting part of his output, amounting to a series of short picturesque pieces written in a bland neo-classical vein, with just a hint of impressionism or humor here and there to liven up the expression. Lack of both imagination and strong features have kept these pieces away from the current concert repertoire, but on CD they make nice if quickly forgotten listening. The collection of Histoires, including the famous Le petit âne blanc (The Little White Donkey), comes off the best, along with Les rencontres, a little suite in the form of a ballet that displays some lively melodic figures underlined by slightly spicy harmonies, as in the softly swinging The Creoles. The other pieces do little else than round off the total timing of the CD. Hae-won Chang plays with charm and delicacy, with a clean and neat technique that is just what these unpretentious pieces require. The recording is well balanced and truthful.

Although the Crusaders could not have known it at the time, their recording of "Street Life" (which features a memorable vocal by Randy Crawford) was a last hurrah for the 20-year old group. Their recordings of the next few years would decline in interest until the band gradually faded away in the '80s. However this particular set is well worth picking up for the 11-minute title cut and there is good playing by the three original members (Wilton Felder on tenor, soprano and electric bass, keyboardist Joe Sample and drummer Stix Hooper) along with guitarist Barry Finnerty; horn and string sections, plus additional guitarists are utilized on Sample's commercial but listenable arrangements.

Royal Winter Music by Hans Werner Henze (1926–2012) and Nocturnal after John Dowland by Benjamin Britten (1913–1976) were both inspired by the culture of Elizabethan England in the late 16th and early 17th centuries; more precisely, by the plays of William Shakespeare (1564–1616) and the music of lutenist-composer John Dowland (1563–1626). Henze and Britten both drew on tradition, and they shared a special liking for vocal music. They both composed a lot for the voice, and the guitar works on this release are likewise very lyrical in places.

The idea for this CD developed during a recording of the Fantasy No. 7, and quickly established its own momentum. What began as a spontaneous thought experiment soon demanded fulfilment, and morphed swiftly into the desire to take part in the reawakening of this music. What followed was months of intensive dialogue with, and examination of, the 12 Fantasies by Telemann. Having first studied modern cello Renate Mundi discovered her passion for baroque music, and for the viola da gamba in particular. Her enthusiasm for the special characteristics of the instrument, as well as her interest in source studies, including the search for undiscovered scores, was fostered by Prof.