French pianist's lilting yet powerful performances leave us wanting more.

Vladimir Ashkenazy is well known for his fascination with the earthier side of Russian orchestral music.

Much of his church music, admittedly, lacks any more than a hint of introspection, spirituality or light and shade. One always has the impression that in Haydn’s take on Catholicism a good time was had by all. Even the supposedly darker Missa in tempore belli, nicknamed the “Timpani Mass”, really becomes ominous only with the menacing timpani figures in the Agnus Dei depicting Napoleon’s army besieging south-east Austria. Otherwise, only the unsettled minor key mood of the Benedictus undermines the otherwise joyful mood. Interestingly, the man whom Beethoven a few years later considered (initially at least) to be a liberator was viewed by the more conventional Haydn as a threat to civilisation. That said, performances of this calibre deserve an unreserved welcome. These two works were composed 24 years apart, the Mariazellermesse in 1782 as a celebration of the ennoblement of a prominent Catholic, a retired army officer who organised Marian pilgrimages. Owen Burdick and his forces (the Trinity Choir refers to the Trinity Episcopal Church in Wall Street, Manhattan, not Trinity College, Cambridge) and REBEL Baroque orchestra are agile and idiomatic in this music while, among the soloists, the men are adequate but the real star in both masses…

Crank the amp and forget the neighbours – let everyone share in Mozart’s final creation.

Powerful stuff! David Oistrakh would have been proud.

In 1975 few music lovers knew this work. It was the young firebrand Roger Woodward who made the first complete recording in the West.

The BBC Symphony seems to have assimilated a genuinely Czech sound into their playing.

The sound is so stunning it’s hard to believe these are live performances.

The two soloists are excellent, and the outstanding Akademie für Alte Musik plays at the high level we have come to expect.

On the strength of this selection, Vivaldi’s tenor arias seem to lack the variety of those for the female voice.

Aimard and Boulez give a strong account of the first, more forceful than the norm, and the pianist’s technique is astonishing.

Volume 1 is a complete cycle of the Beethoven sonatas, which do not traverse the same range of styles or psychological landscapes as the piano sonatas, string quartets, or symphonies.