Kennedy has shrewdly augmented the regular concerto coupling of Bruch and Mendelssohn with the rare Schubert work, and the result is a generous issue which on every front can be warmly recommended for exceptionally strong and positive performances, vividly recorded. The Rondo in A, D438, dating from 1816, the year of his Concertstuck in D for violin and orchestra, was originally written for solo violin accompanied by string quartet.

Before the great conductor Ferenc Fricsay died (tragically young at the age of 48 in 1963), he made dozens of brilliant mono and stereo recordings for Deutsche Grammophon. Many of his most significant recordings have been released on CD, though some have already drifted out-of-print (Bartok's Concerto for Orchestra, Mozart Syms 29, 39-41 and Beethoven Syms 3, 5 & 7) and others are only available as expensive imports. This past year there has even been a limited edition boxed set of his music released (in the "Original Masters" series – see my review).

The three works on this album were all written by Max Bruch at the end of his life, after World War I, when he was more than 80 years old. They were not published until after his death in 1920, and then they were forgotten due to Nazi bans on Bruch's music because of his supposed Jewish ancestry, wartime manuscript loss, and the self-serving actions of modernist gatekeepers. In the world they depict, the Great War might as well never have happened, but perhaps that is part of the point.

This was the first commercially produced SACD hybrid super audio on the market. In June of 2000, I sat in one room recording in pcm and the research team of Philips were in the room next door taking my analogue signal directly from my mixer. I first released my pcm version in the fall of 2000. The Pyramix at that time was very primitive but thanks to the Phliips team who worked around the clock to produce the software, we were able to get this DSD version out at the beginning of 2001.

Admirers of Sir Yehudi Menuhin will be pleased to have this compilation of his early stereo recordings of the major violin concertos. I have always enjoyed his version of the Bach Double Concerto with Christian Ferras; it rightly dominated the catalogue throughout the 1960s, and the spirited baroque vitality of the performance, plus a beautifully judged central Largo, give great satisfaction. Moreover, it demonstrates what a good sound balance Peter Andry and Neville Boyling could achieve in London's Kingsway Hall in 1959.

The viola is no longer the Cinderella of string instruments, thanks to such composers as Hindemith, Schnittke, Britten and Berio, but it was Walton who, in 1927, composed the first significant work for the viola since Berlioz’s Harold in Italy of 1834. Max Bruch also wrote for it; like Mozart’s Sinfonia concertante for violin/viola duo, he composed a concerto for viola and clarinet in 1911, with an alternative version substituting violin for clarinet. A short Romance had appeared in 1885, while Kol nidrei for cello also had a version for viola. All these works appear on this excellent disc and highlight the instrument’s strengths and weaknesses in the capable hands of Bashmet, currently one of its greatest exponents.

This concert film captures legendary violinist Yehudi Menuhin performing concertos by such luminaries as Mozart, Beethoven, and Bruch.

The foremost Czech clarinettist of her generation, Ludmila Peterková, chose to tackle in this her latest project a repertoire from the creative legacy of German and Italian Romantic composers, works that are not widely known and yet proved to offer surprisingly attractive listening material. Apart from Peterková's totally accomplished, sonically flawless performance, the album's other great asset is the presence on its tracks of the basset horn, an instrument that has completely disappeared from modern-time music, reintroduced here in two numbers by France's young and talented NicolasBaldeyrou.