Macross Yoko Kanno With Members OF Israel Philharmonic Orchestra

The first complete Schumann symphony cycle on disc, this set was recorded in Tel Aviv in 1956 by one of the most highly respected conductors of the post-war period. Paul Kletzki (1900-1973) brings out the fundamental strangeness and feverish excitement of Schumann's orchestral writing. His readings of these iconic works are key to understanding the path they have travelled towards the recognition they enjoy today.

Mendelssohn's Elijah is a work that definitely stands among the ranks of phenomenal oratorios. This is a tremendous performance where the chorus and conductor seem to have achieved an ideal rapport with the Israel Philharmonic. This recording presents a wonderfully fresh, dramatic exposition of an old favorite that makes it sound new-minted. It's lithe, lean and classically mean. It propels itself along at quite a lick - sometimes considerably faster than Mendelssohn's often surprisingly slow metronome marks. Pauses between movements are kept to a bare minimum, so that the momentum is not lost…Masur's generally speedy traversal is however not an unmixed blessing.

Legend of the piano Martha Argerich is releasing her first ever album partnering the Israel Philharmonic Orchestra under the baton of its new musical director, Lahav Shani.

In his second EMI Classics recordings of Bruch’s two best-loved works, Perlman is joined by the Israel Philharmonic Orchestra and Zubin Mehta. He dedicated this recording to his great predecessor Jascha Heifetz, saying that “his artistry will always be my inspiration”.

Lupu’s splendid pianism thrives among the recorded competition. His port wine sonority and leonine temperament perfectly suit the red-blooded outer movements. Zubin Mehta elicits warm, vibrant playing from the responsive Israel Philharmonic. The solo items are impressively polished and refined, albeit without the dramatic tension and dynamic…

The Israel Philharmonic Orchestra is the leading orchestra in Israel and globally recognized as a world class symphonic ensemble. Shani has established himself as one of the most talked about young conducting talents and is considered an inspiring successor to the legendary Zubin Mehta.

One might have expected that Silva Screen Records, here operating through the subsidiary label Silva Classics, would be more interested in Jean Michel Jarre's father Maurice Jarre than in the younger musician. After all, Reynold da Silva's record company specializes in making new recordings of music from film scores, and it's Maurice Jarre who's the famous screen composer, while Jean Michel Jarre is the synthesizer player who stages spectacular concerts and sells records in the millions with his new age music. But that's the point: this is The Symphonic Jean Michel Jarre, an attempt to take his music and play it as though it had been written like his father's. As usual, Silva employs the City of Prague Philharmonic Orchestra, with the Crouch End Festival Chorus along to provide the "ah" sounds as appropriate…

With a captivating collection of lush new arrangements for violin and orchestra of film and TV scores, classical music from the movies, anime hits and new compositions by Oscar-winning composers, the album Cinéma showcases Esther Abrami’s versatility, musical sensitivity and technical mastery. Available on CD, Cinéma features unique new arrangements of blockbuster hits such as ‘Naruto’, ‘Demon Slayer’, ‘The Witcher’ and ‘The Hunger Games’ alongside iconic French music such as ‘Amélie’ and ‘Les Choristes’ as well as beloved classics by Pjotr Tchaikovsky, Dmitri Shostakovich and Astor Piazzolla.

"Bernstein stamps his outsize personality on every bar and regularly has you convinced it is Mahler's own" (Gramophone). Filmed on tour at Berlin's Philharmonie, this account of the valedictory Ninth Symphony is an intense interpretation, expressing Bernstein's conviction that modern man had at last caught up with the message encoded in Mahler's last completed work. Having made his famous 1966 studio recording of "Das Lied vin der Erde" in Vienna, Bernstein re-recorded this in Israel with the same searing subjectivity. René Kollo draws on the voice of a great Wagner tenor, while Christa Ludwig, the greatest exponent of the contralto songs at the time, is unbearably poignant in the final movement's fusion of elation and sadness.