This is a very contemporary Winterreise, thoughtful and intensely musical, its beauties so restrained that you are surprised to find tears spilling from your eyes in the closing song, "Der Leiermann", an open-ended ending that is unmatched in music until Mahler’s "Das Lied von der Erde".

The flamboyant American organist Cameron Carpenter, more used to playing in a singlet than a surplice, either makes you feel young and with-it or old and totally out of it.

Steven Isserlis modest Chopin and Schubert cello-piano recital with Dénes Várjon highlights two fine musicians at the peak of their powers.

"She simply soars." An upcoming release of English contralto Kathleen Ferrier includes six new tracks poised to keep this musical marvel alive.

The latest from Vladimir Ashkenazy featuring three works that span Shostakovich's entire creative life. "Caustic rhythms that sear into the listener’s conscience."

The Gewandhaus can play this stuff in their sleep and sometimes it sounds as if that’s just what they are doing.

The fact that a pianist at the start of his career is prepared to defy the rule makers and play Scarlatti on a modern concert grand restores our faith in musical free-thinkers.

The Berlin-based Notos Quartett's debut recording wins kudos for uncovering an ‘unusual’ set of Bartók works, but ultimately it fails to deliver.

Today, thanks largely to proselytism by Gidon Kremer and his friends, Mieczyslaw Weinberg is no longer obscure but a musical giant, waiting to be discovered.

Adding pastel colours and a Cageian hint of unpredictability, "remarkably, the Tangent [piano] helps redeem this music from mediocrity."