Mikko Franck, Orchestre National de Belgique Rautavaara Book of Visions

The baritone Matthias Goerne, the Orchestre Philharmonique de Radio France and Mikko Franck launch a trilogy of Shostakovich’s works for baritone and orchestra with a recording of Symphony No.14. This will be followed by Symphony no.13 (Babi Yar) and the Suite on poems by Michelangelo Buonarroti. The soprano Asmik Grigorian joins Matthias Goerne for this monumental yet highly subtle symphony setting poems by García Lorca, Apollinaire, Küchelbecker and Rilke.

Debussy's song cycle Ariettes oublieesof 1888 set six poems from Paul Verlaine's collection Romances sans paroles, beginning with C'est l'extase and Il pleure dans mon coeur - penetratingly poetic images of love's ecstasy and rainlike tears of despair. The six Ariettesare the departure point for the arrangement realized in 2012 by British composer Robin Holloway in response to a request from the San Francisco Symphony. Holloway has altered their order while adding a further four Debussy songs, binding the whole work together with brief orchestral links and a feverish epilogue, 'con moto agitato'. This world first recording is given by French soprano Vannina Santoni, with the Orchestre Philharmonique de Radio France under the baton of Mikko Franck. The Finnish conductor, a great admirer of Debussy, here also presents the master's bewitching masterpiece La mer, first heard in Paris in 1905.

Singer Asmik Grigorian has chosen to record both versions of Richard Strauss's ultimate masterpiece, composed in 1948: the version with orchestra and the much rarer version with piano. Why? “Because “one” is never enough for me :)" writes Asmik. "My main interest in recording both versions was that they each require different colors - even if they are the same piece. Mikko Franck is one of the best conductors working today, and makes everything simple, like all the truly special things on this planet are. Markus Hinterhäuser is just a magician in everything he does. Making music with them makes me feel that I am not alone.”

Paris is Hilary Hahn’s comeback project after her one-year sabbatical. Now Hilary is back with her first album on Deutsche Grammophon in five years.

Some music lovers are familiar with Ce qu’on entend sur la montagne, Liszt’s symphonic poem based on Victor Hugo. But who knows that, ten years earlier, César Franck was inspired by the same poem? This early piece is recorded here by the Orchestre Philharmonique de Radio France conducted by Mikko Franck. They couple it with the famous Symphony in D minor, dedicated to Henri Duparc and premiered, without much success, in 1889. Even if the score is quite well-known today, in the end it is performed quite rarely, which is a pity, because it really has all the characteristics of a masterpiece: melodic and harmonic inspiration, refined orchestration, variety of mood, an ingenious structure.

After Franck, Debussy and Strauss, Mikko Franck and the Philharmonic Orchestra of Radio France here continue their collaboration with Alpha Classics, this time with the spotlight on Igor Stravinsky. The programme begins with two pieces from his so-called ‘neo-classic’ period: his Capriccio and Octet. In the first, in which Stravinsky sets up a dialogue between piano and orchestra, the soloist is one of the great stars of the new generation, the French pianist Nathalia Milstein. Then the mood darkens, with the primitive rhythms and ferocious chordal attack of The Rite of Spring, a work that Mikko Franck has long since wanted to immortalize on CD: a major masterpiece of the 20th century and an essential milestone for every orchestra.

The Orchestre Philharmonique de Radio France and Mikko Franck continue their collaboration with Alpha and here invite one of the label’s flagship pianists, Nelson Goerner. The programme is devoted to Richard Strauss, coupling several of the German composer’s early works. The Burleske for piano and orchestra, written at the age of twenty, is brimming with lyricism and Romantic ardour; its tone colours herald Strauss’s operas, while the orchestration anticipates his symphonic poems. The piano part is exceptionally virtuosic: Hans von Bülow, for whom Strauss wrote it, called it unplayable! The Serenade for thirteen wind instruments harks back to Mozart’s Gran Partita K361 for similar forces.

With Airlines, supreme instrumentalist, flautist Emmanuel Pahud, takes the music of an Oscar-winning film composer, Alexandre Desplat, into new realms. The album is entirely devoted to world premiere recordings – of original concert works and of reimagined versions of Desplat’s film scores, including Oscar-winners The Shape of Water (2018) and The Grand Budapest Hotel (2014). Pahud is accompanied by the Orchestre National de France, conducted by Alexandre Desplat himself.

Many Romantic composers owe their fame to one of their symphonic poems. Alongside acknowledged French masterpieces in the genre, the fifteen tracks presented here include four previously unrecorded works and several rarities by women composers. The Orchestre National de Lyon, a great champion of French Romantic music, offers a palette of shimmering colours under the baton of Nikolaj Szeps-Znaider as it relates in music the legend of Merlin the Magician, the fairytale of Sleeping Beauty and the misadventures of the Sorcerer’s Apprentice.

Dukas's three mature orchestral compositions are gathered on this attractive disc. The earliest is the little-known symphony, obviously inspired by Franck's three-movement symphony written a decade earlier. Like Franck, Dukas creates a large-scale sonata-form first movement; a lyrical slow movement that incorporates lighter, scherzo-like elements; and a rushing finale that contains a grandiose contrasting melody. La Peri, a late work, is subtitled "Dance Poem." It is glisteningly orchestrated–yet remarkably restrained–clearly delineated, colorful music. The Sorcerer's Apprentice (composed in between the other two) is deservedly popular, a colorful, splendidly lucid tone poem. Slatkin leads brisk, strongly played performances.