Mendelson Concerto N°2

France's Naïve label has heavily promoted the career of the young pianist Lise de la Salle, who was 22 when this recording was made. Her fashion-spread good looks fit with Naïve's design concepts, and she has the ability to deliver the spontaneous, unorthodox performances the label favors. How does she fare in a field extremely crowded with Chopin recitals? Her performances certainly aren't derivative of anyone else, and this live recording from the Semperoper in Dresden (you get a one-minute track of just applause at the end) has a good deal of attention-getting flair. The standout feature of de la Salle's performance, in the four ballades at least, is her orientation toward slow tempos, inventively deployed.

If Prokofiev's Symphony-Concerto for cello and orchestra and Shostakovich's Second Concerto for cello and orchestra had heretofore seemed to be late works shot through with nostalgia and bitterness, that's certainly entirely understandable. Rostropovich, the works' dedicatee who gave both their world premieres, played them that way in his recorded performances and most subsequent cellists have naturally followed his lead.

George Szell owned the First Piano Concerto. He played the opening movement like no one else, and he recorded the work with three outstanding pianists: Sir Clifford Curzon, Rudolf Serkin, and this performance with Anton Fleischer. When I say this is the best of the three, I'm making a tough choice, but Fleischer brings a youthful vigor and rage to the music that complements Szell's fiery accompaniment so well that they sound like they're both performing from the same musical brain.

Another superb addition to Matthias Bamert's splendid series of recordings with the BBC Philharmonic of the orchestral music of Ernst von Dohnányi, this 2004 disc brings together three concerted works from the composer's early years in Tallahassee, FL. But although they were composed between 1946 and 1952, the Piano Concerto No. 2, the Violin Concerton No. 2, and the Concertino for harp and chamber orchestra all sound as if they could have been written between 1896 and 1914 in Budapest, Hungary: although war and fascism had driven Dohnányi from his place and time, it did not drive from him his place and time. Indeed, the works on this disc are just as tuneful and romantic as Dohnányi's earlier works and anyone who enjoyed them will enjoy these.

Having broken off work on a second violin concerto in 2012, the prolific Finnish composer Kalevi Aho only returned to the project after being contacted by the violinist Elina Vähälä. While aware of the weight of tradition and eager to avoid the pitfalls of violinistic clichés, Aho nevertheless wrote a virtuoso work dominated by the soloist, who is offered many possibilities to realise her own interpretative conception. The orchestral part was specifically composed for the Kymi Sinfonietta with its sound in mind. With his Cello Concerto No. 2,

Violin virtuoso Gil Shaham's first-ever collaboration with conductor Pierre Boulez is historic music-making of the highest artistic caliber. In the 27-year-old Shaham, Grammy winning maestro Boulez has found a soloist equally able to deliver the goods on the large and musically free Concerto, as well as the gypsy dance inspired Rhapsodies. Both conductor and soloist received a stellar reception when they performed these works live in concert last December.

This 1995 release from Deutsche Grammophon combines two memorable concerto recordings by Sviatoslav Richter. Almost all of Richter's recordings are considered legendary – particularly since he did not like recording in the studio – but these are rightfully so. They were some of the first that were released widely in the west, where he was still something of a new talent in the late '50s-early '60s, although a middle-aged man by then. The Rachmaninov Concerto No. 2 with Stanislaw Wislocki and the Warsaw Philharmonic Orchestra dates from 1959 and was met with high praise from most for its detail and the depth of Richter's knowledgable interpretation. It is not as ardent as most other pianists' readings, but its clarity speaks volumes and can still move the listener.

Yes, this disc includes a rarity: a concerto for two bassoons! The bassoonists, Annika Wallin and Arne Nilsson, do a great job. So does the orchestra, the Umea Sinfonietta, from northern Sweden. Jan Vanhal's beautiful two-bassoon concerto is the key work on this disc. And for those who don't know who Vanhal was, well, he wrote plenty of music. In 1777, Mozart played the solo part in a concert performance of a Vanhal violin concerto. In 1784, Haydn, von Dittersdorf, Mozart, and Vanhal played some string quartets together at the home of composer Stephen Sorace (Haydn on first violin, Dittersdorf on second violin, and Vanhal on cello).

Star pianist Lang Lang joins star conductor Valery Gergiev and the Orchestra of the Mariinsky Theatre to perform two star-making works of the piano and orchestra repertoire: Rachmaninov's Piano Concerto No. 2 and the Rhapsody on a Theme of Paganini. Both works contain themes that are very familiar to many. The third movement of the Concerto contains the "Full Moon and Empty Arms" theme, while the Rhapsody has the romantic 18th variation that is frequently heard in film soundtracks, most famously Somewhere in Time. The real attraction here, however, is the combination of two spectacular musicians who each have their own following and their own distinct style of interpretation.

Nelson Goerner is not especially known for his Brahms, and this 2018 Alpha release of the Piano Concerto No. 2 in B flat major marks his first commercial recording of a major Brahms work. While he is widely viewed as a poet at the piano, mostly because of his introspective playing of solo piano music by Chopin and Debussy, Goerner's close-to-the-vest approach may be viewed as a liability in such a heroic and powerful work as this concerto, where assertive playing is required and pianists are expected to demonstrate muscular prowess over poetry.