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What a great set this is: thirteen discs chock full of masterful performances, many of which have already been praised here. EMI has not included any of Berglund’s Sibelius symphonies (except the Helsinki Kullervo) since they have been issued elsewhere, nor are there any concertos, which is a pity. But all of his Shostakovich symphonies for EMI (Nos. 5-7, 10, and 11) have finally been gathered together, including these benchmark performances of Nos. 6 and 11.

Blending plain old hard rock with prog rock tendencies and a clear ear for a good radio-ready pop hook, Uriah Heep never exactly wowed the critics, perhaps because their lyrical fascination with wizards and demons could make them seem as addled as Spinal Tap in that band's famous Stonehenge concert scene. But critics don't make rock memories, and Uriah Heep, despite countless lineup changes, remained a steady band that played at being outlaws on the run and produced at least a couple of enduring rock radio classics in the early '70s, most notably their fun versions of "Stealin'" and "Easy Livin'," both of which present the band at its best. This set has both of those songs, plus other bare-bone essentials like "Lady in Black" and "The Wizard," and for most casual fans, it'll fill the bill.

Universal Music Distribution's Icon series dealt with Barry White's extensive back catalog in two forms. This one, a single-disc compilation (the other was a two-disc set), stays true to the Icon series format with 12 tracks and minimal packaging. It’s a decent sampler, but it’s nowhere near definitive and it doesn’t distill White’s work to its essence (an impossible task when limited to one disc). Several of the man’s most popular singles are here, including “Can’t Get Enough of Your Love, Babe,” “It’s Ecstasy When You Lay Down Next to Me,” “I’m Gonna Love You Just a Little More, Baby,” and “You’re the First, the Last, My Everything.” This merely scratches the surface.

This fine collection has a diverse range of well know piano repertoire from Bach to Gershwin and illustrates Weissenberg’s brilliance and his exciting lyrical playing. Including both orchestral and solo piano works this collection offers a magnificent range of repertoire for the piano enthusiast. Weissenberg is critically acclaimed for his interpretations of Brahms’s Piano Concerto No.1 and Rachmaninov’s Piano Concert No.2 both of which are included in this set. A pianist of virtuoso technique, with wide repertory but a particular interest in the Romantic period (especially the music of Chopin and Schumann), he can give in performance and recordings the impression of a forceful flamboyance of style.

These 6 CDs take you from 1925 (the year Heifetz became a U.S. citizen) to 1949-you'll find many a benchmark recording of the violin repertoire here. He reaches towering heights of emotion and virtuosity as he plays Mendelssohn ( Violin Concerto in E Minor ), Mozart ( Violin Concerto No. 4 in D ), Sibelius ( Violin Concerto in D Minor ), Tchaikovsky ( Violin Concerto in D ), Beethoven ( Violin Sonata No. 9 in A ), Franck ( Sonata in A ), and more!

Malcolm Sargent's reputation as one of the great popularizers of classical music in Britain arose not only through his long association with the Henry Wood Promenade Concerts (1947-67), but was evident much earlier through chief conductorships of the Halle (1939-42), Liverpool Philharmonic (1942-48), and BBC Symphony Orchestras (1950-57).
By the time he became a fixture at the Proms in 1947 Sir Malcolm (he was knighted in 1947) his was one of the best-known names in England. In personality, showmanship, and energy he was ideal for the nightly concerts.

This Swedish opera star's flair for dramatic roles (not to mention his distinctively beautiful voice) made him one of the most in-demand tenors in the world. This set collects the best of Bjorling's EMI solo recordings plus highlights from the three complete operas he recorded for his longtime label. He sings La Donna E Mobile Verdi; E Lucevan Le Stelle Puccini; Cielo E Mar Ponchielli; Mi Batte Il Cor O Paradiso Meyerbeer; Instant Charmant En Ferment Les Yeux Massenet, plus Borodin, Gounod, Sibelius and more!

Lucia Popp (born Lucia Poppová) entered the Academy in Bratislava primarily to study drama. Her voice was a mezzo-soprano but her musical lessons developed a high upper register to such a degree that her professional debut was as Queen of the Night in Mozart’s opera Die Zauberflöte in Bratislava. In 1963 Otto Klemperer heard her and she duly recorded this role with him in 1971. Also in 1963 Herbert von Karajan invited her to join the State Opera in Vienna where her first role was Barbarina in Mozart’s Le nozze di Figaro.