Krystian Zimerman

Given the depth, range and quality of the Deutsche Grammophon catalogue, it’s hardly been difficult to put together another anthology of great recordings and great artists. The structure is as before – here are 53 original albums (including three double-sets), featuring the great names of Deutsche Grammophon’s recording history, presented, once more, in alphabetical order of artist. Claudio Abbado leads off with a complete Carmen and Krystian Zimerman rounds off with his memorable account of the Chopin Ballades.

Given the depth, range and quality of the Deutsche Grammophon catalogue, it’s hardly been difficult to put together another anthology of great recordings and great artists. The structure is as before – here are 53 original albums (including three double-sets), featuring the great names of Deutsche Grammophon’s recording history, presented, once more, in alphabetical order of artist. Claudio Abbado leads off with a complete Carmen and Krystian Zimerman rounds off with his memorable account of the Chopin Ballades.

Most, though not all, of the Debussy and Ravel orchestral masterworks, recorded beautifully by DG with Cleveland and Berlin. Boulez's "intellectual," somewhat astringent style is ideally suited to these sometimes overly romanticized pieces, offering brilliant articulation and transparency that reveals the architecture and intricate interplay of each orchestral element.

In its 2012/13 season, the Hagen Quartett brings the complete Beethoven string quartets to the most prominent musical centres of the world, including New York, Tokyo, Paris, London, Vienna and Salzburg. During the first half of this tour, the quartet went right away from the stage to the studio to record three of their most favourite Beethoven quartets. With Op. 18/3 and Op. 135, the album ranges from the very first to the last string quartet Ludwig van Beethoven wrote.
The Hagen Quartet came into being in 1981, soon achieving success in a number of competitions and signing an exclusive recording contract with DG, which over the course of a 20-year relationship produced 45 CDs.

Nikolai Lugansky and Sakari Oramo conclude their Rachmaninov cycle with the Second and Fourth Concertos, generally matching the proficient (though somewhat generic) standards characterising earlier releases in this series. The Second’s ample rubato and incisive climaxes are far better judged than in the recent, horrifically indulgent Lang Lang/Gergiev recording (DG, 4/05). And although Lugansky’s piano dominates in the mix, the first movement’s rolling arpeggios do not pull focus from the orchestra who, of course, have all the thematic material. In the slow movement I’d prefer a firmer, chamber-like profile between the pianist and first-desk wind soloists. You’ll also glean more ferocity and shapely characterisation from Stephen Hough, Krystian Zimerman, Sviatoslav Richter and Julius Katchen throughout the finale, but this is not to disparage Lugansky’s fleet, assured and world-class fingerwork.