Based only on these 2 quartets, I would have to rank Joseph-Ermend Bonnal as one of the best composers I have never heard of.
Maurizio Pollini, still one of the undisputed stars of the piano when these performances were recorded in 2011 and 2014, had already recorded the Brahms concertos several times before. One might expect a kind of late-life summation, but this is nothing of the sort. Instead, Pollini seems energized by the chance at an unusual pianist-conductor interaction, something arguably more important with Brahms than with any other composer: the motivic web can be knitted in various ways. Pollini's lithe elegance, little diminished in his late sixties, stands in sharp contrast to the big-boned dramatics of Christian Thielemann, leading the venerable Staatskapelle Dresden, and many passages sound totally novel.
Herreweghe’s Bruckner symphony cycle with the period instruments of his Orchestre des Champs-Elysees reaches the tremendous Fifth, a pivotal work in the composer’s development. As usual it’s a sober account, and nicely tailored, though the conductor’s knack for shaving away the sharp edges can be a mixed blessing.