Mozart, the innovator, wrote for organ only out of necessity or for commission. The three most interesting pieces on this Accord CD are the two Fantasies (K608 & K594) (12:55 & 10:50)and the Andante (K616) (6:25) that he wrote for an organ that was built into a clock in the waxwork museum owned by Count Deym, alias Muller. Though that organ was limited both in tone & pitch, Mozart wrote for it some of his finest music, in 1790 and 1791, near the end of his life. The other nine works on this CD, recorded in France in 1991, are Sonates "all'epistola" which he wrote while employed as court organist in Salsburg between 1772 and 1780. Ranging from 3 to 5-1/2 minutes in length, they are church sonatas, written for two violins, cello, contrabasse, and organ.

Maurizio Pollini, "the pre-eminent Chopinist of his generation" (Fanfare), continues his revelatory and chronological re-exploration of the Polish master's late works. This album contains the pianist's latest thoughts on Opp. 55-58 (1843/4), including the B minor Sonata and Berceuse.

Scheins 1623 in Leipzig gedruckte Sammlung Israelsbrünnlein ist eine kompositorische Gipfelleistung, nicht nur innerhalb des Schaffens des seit 1616 in Leipzig als Thomaskantor wirkenden Komponisten, sondern darüber hinaus auch der deutschen Musik der ersten Hälfte des 17. Jahrhunderts. Unter den 26 "auf Italian-Madrigalische Manir" geschriebenen Motetten finden sich 23 auf alttestamentarische Texte (Psalmen, die Mose-Bücher, das Hohelied und andere Bücher des Alten Testaments) komponierte, was der Sammlung den Namen gab. Hans-Christoph Rademann und der Dresdner Kammerchor legen hier eine Referenzeinspielung der kompletten Sammlung vor.

Ars Antiqua Austria was founded in Linz in 1989 with the aim of introducing audiences to the roots of specifically Austrian baroque music played on period-instruments. The music performed at the imperial court in Vienna at this period shows the strong influence of Italy and later of French forms, while Spanish court ceremonials also shape the character of the works. The typical Austrian sound of the period also betrays the influence of the many Crownlands. The political and social boundaries of Austria in the baroque era were far wider than in the 20th century.

The present recording honors three important composers celebrating major anniversaries in 2009: Handel, Mendelssohn and Haydn. George Frideric Handel’s Dettinger Te Deum is presented here not in its original version, but rather in an arrangement by Felix Mendelssohn Bartholdy, who rendered outstanding service to music not only through the revival of Bach’s choral works, but also through those of Handel. In addition, The Storm, the little-known choral work by Joseph Haydn, is also to be heard here. He composed it during his first visit to England and later arranged it for a large ensemble.

La Stravaganza, under their director/harpsichordist Siegbert Rampe, are a Hamburg-based ensemble. Their performances of the six Brandenburg Concertos, together with the Triple Concerto in A minor (BWV 1 044), and a version of the Fifth Brandenburg which predates by about three years Bach's presentation copy to the Margrave, provide stimulating and mainly satisfying listening. It is perhaps a pity that the earlier version of the First Concerto was omitted from the recording, since it reveals significant textual variants from the Brandenburg, above all the scoring of the second of the two Trios.

Best remembered for the late-'70s chart-topper "Baby Come Back," Player were formed in Los Angeles in 1977 by singer/guitarist Peter Beckett (formerly of the U.K. group Skyband), bassist Ronn Moss, and guitarist/keyboardist J.C. Crowley. After adding drummer John Friesen, Player signed to impresario Robert Stigwood's RSO label and issued "Baby Come Back," which sat atop the Billboard Hot 100 for three weeks in early 1978. Their self-titled debut LP appeared that same year, as did the follow-up, Danger Zone.

Following the BBC Music Magazine Opera Award for his recording of Malcolm Arnold’s The Dancing Master, conductor John Andrews returns with the world-premiere professional recording of John Frederick Lampe’s operatic comedy The Dragon of Wantley.