Long overshadowed by her towering legacy as one of the 20th century’s most influential music teachers, Nadia Boulanger’s creative voice as a composer is rediscovered in La vulle morte (The Dead City) – a haunting opera of passion, loss, and psychological intensity.

The program on this recording covers nearly 35 years of Graupner's creative output. It includes two works that have come down to us in original editions (those of 1722 and of 1733) and two in manuscript form, one of them autograph (around 1750-1753), the other in the hand of Samuel Endler, vice-Kapellmeister of the Darmstadt court (around 1720).

35 tracks and just one name: Johann Sebastian Bach. Icelandic pianist Víkingur Ólafsson continues his successful recording career with a collection of well and lesser known pieces by the famous baroque composer. The selection includes reworks by Bach himself of composers such as Vivaldi and Busoni and Transcriptions/Reworks of Chorals by Víkingur Ólafsson himself. Víkingur Ólafsson’s interpretation of the baroque repertoire are crystal clear, modern and hauntingly beautiful. In his very own style Víkingur perfectly captures Bach as a master of balance whose music is the ideal combination of emotion and intellect, singing melody and sculpted counterpoint.

This is the kind of issue which may not seem immediately attractive to some collectors but will be a must for others. I'm thinking, of course, of (in the first case) the uncommitted seeker after a new Mozart piano concerto issue and (in the second) someone who is already collecting the Mitsuko Uchida/Jeffrey Tate series. The reason for any doubts is that what we have here is early Mozart—indeed, Erik Smith's booklet essay is entitled ''Mozart's First Concertos''. The 'No. 5' in D major, written when he was 17, is in fact the first piano concerto that was entirely his own composition, and was composed for the harpsichord rather than the fortepiano.

While the all-killer no-filler single-disc The Byrds' Greatest Hits remains the best distillation of their classic songs, The Essential Byrds is a smartly assembled double dose, including all 14 of the 1965-1967 tracks on Greatest Hits, but expanding its reach into their entire Columbia output, going as far as the early '70s. Inevitably, that means that disc two – which goes, roughly, from mid-1967 to 1971 – isn't as good as the first half, and that the last four tracks in particular are by far the least impressive, tagged on mostly so that the release spans the Byrds' entire Columbia catalog. That's a small reservation considering that the two-fer adds many first-rate songs not on Greatest Hits, from non-hit singles like "Lady Friend" and "Goin' Back" to standout album cuts like "Renaissance Fair," "Natural Harmony," "Jesus Is Just Alright," and "Chestnut Mare." There are no surprises here; even the songs that eluded inclusion on albums for many years, like the early B-side "She Don't Care About Time" and "Lady Friend," have been commonly available in the CD era. And it's true that this misses some other fine album tracks that could have stood with pride alongside those selected, like "I Knew I'd Want You," "John Riley," and "Dolphin's Smile." Within the confines of the two-CD format, though, it's a very well-chosen career overview.

2007 has been a banner year for Goldbergs; no less than five recorded versions of the piece had appeared by the end of July, including a digitally reinterpreted incarnation of Glenn Gould's famous 1955 recording and Wilhelm Middelschulte's bizarre, psychedelic 1924 transcription of the work for organ. In the face of such circumstances, no one would blame music critics for throwing up their hands and saying something like "enough already!" Nevertheless, thankfully the Goldberg Variations is not that kind of a piece, its appeal is both immutable and universal. Ultimately it comes down to the personality of the keyboard player to make something out of the Goldberg Variations that stands apart from the pack, and young pianist Simone Dinnerstein has managed to do that with her glorious rendering of Bach's cycle for Telarc. Her rendering of the Aria is slower than the norm and her approach to tempo throughout is very elastic; there is nothing rigid about her interpretation of the work. Dinnerstein's reading involves a great deal of give and take, seeking to deepen the expressive potential of Bach's music without losing sight of its basic shape.

The Essential Journey doesn't bear a title that's too hyperbolic for the collection it represents. Over the course of two discs and 32 songs, the retrospective winds through all of the group's biggest songs – not just the hit singles, but the album radio favorites and concert staples that kept the group popular on the charts and in the arenas until last third of the '80s (and, for the record, everything on the previous Greatest Hits record is here). The key to the collection is that it doesn't abide strict chronological order. Instead, it's divided into two, with all the biggest hits on the first disc and the second acting like a "more of the best" collection, and within each of the discs, the tracks flow like a concert. The result is a first-class, definitive collection for the serious Journey listener (and, despite many skeptics, there are many out there – which is not hard to understand, since arena rock never got any better than this).

Since the bulk of Jim Croce's discography consists of compilations that shuffle "You Don't Mess Around with Jim," "Bad, Bad Leroy Brown," "Operator," "Time in a Bottle," and "I Got a Name" in a seemingly endless series of permutations, it's easy to be suspicious of another collection, particularly one bearing the nondescript title Classic Hits. But Classic Hits is from Rhino Records, not a budget label like Disky, and they have put together the first serious Croce hits compilation since 1992's double-disc The 50th Anniversary Collection. That collection, while comprehensive, had limited appeal since only hardcore fans need 49 Croce songs in one compilation, so this is the first noteworthy single-disc compilation since the first Croce hits album, the 1974 LP Photographs & Memories. Every one of the 14 songs on that album is here, but the "Classic Hits" billing doesn't mean all of his charting singles are here – posthumous minor hit "Chain Gang Medley" is absent.

Claudine Longet's third album continues the middle-of-the-road tendencies of her first two, leading off with an oddly jaunty reinterpretation of "Falling in Love Again," Marlene Dietrich's theme song, whose jaded world-weariness Longet replaces with her own pleasantly insubstantial persona. With its cinematic background noise staging and odd ragtime piano accents, it recalls Harpers Bizarre's playful deconstruction of pre-rock standards. More successful are the straightforward bilingual version of the title track, one of the evergreen tunes of '60s easy listening; the oft-recorded Alan Gordon and Gary Bonner sunshine pop tune "Small Talk"; and a mournful, skeletal version of Randy Newman's little-known early tune "Snow" that's among Longet's finest interpretations of her career. Even better is Longet's take on the Bee Gees standard "Holiday"; Longet's endearingly pitch-poor, lispy vocals are tailor-made for this spooky, unconventional song, which arranger Nick DeCaro gives a suitably off-kilter arrangement featuring a chorus of wordless Longets between the strings and the increasingly florid piano accompaniment. Longet's next album, the masterful Colours, would benefit from even more of this gently psychedelic experimentation.

In February 2016 the recording took place in the Studio 2 of the Bayerischer Rundfunk in Munich. Dina Ugorskaja pursued the finishing process of the master with great impulse and unbelievable energy during all the time when her health abated, even to the point where she selected and approved herself the booklet notes by Tatjana Frumkis. This project will stay simply as a singular milestone, there was a lot planned by the two artists They were also ambivalent toward one another. Prokofiev accused Shostakovich of devouring everything (the fact that the younger composer dared to incorporate the street genres of entertainment music into his classical compositions), and affirmed that Shostakovich had no gift for melody.

Andrew Haveron and John Wilson deliver a fresh and intensely idiomatic reading of Korngolds Violin Concerto, coupled with the formidable String Sextet. One of the most sought-after violinists of his generation and a laureate of some of the most prestigious international violin competitions, Andrew Haveron studied in London at the Purcell School and the Royal College of Music. As a soloist, he has collaborated with conductors such as Jií Blohlávek, Sir Colin Davis, Sir Roger Norrington, David Robertson, Stanisaw Skrowaczewski, and John Wilson, performing a broad range of well-known and less familiar concertos with many of the finest orchestras in the UK. In 1999 he was appointed first violinist of the internationally acclaimed Brodsky Quartet.

This is the 6th instalment of Haenssler’s critically acclaimed survey of Rihm’s orchestral music. Wolfgang Rihm celebrates his 60th birthday this year and this release is of two very melodic concertos. The works feature the phenomenally talented siblings Jörg and Carolin Widmann.