A fizzing, jazz-age sonata opens the door to Pat Kop’s wonderful world of George Antheil.

Patricia Kopatchinskaya and Sol Gabetta talk about our Recording of the Month, the scarcity of repertoire for cello and violin, and rethinking what concert performances could be.

An effervescent exercise in musical acrobatics from Sol Gab and Pat Kop.

With two Recordings of the Month, a trio of American rediscoveries, operatic delights galore and the latest from the Kanneh-Masons, it’s a red-letter month on disc.

Patricia Kopatchinskaja’s possessed Pierrot is as electrifying as it is exotic

Pat Kop delivers concertos for strangled scream and orchestra.

Daniil Trifonov and Barbara Hannigan are among this year's big winners.

Patricia Kopatchinskaja is the latest phenomenon in the galaxy of young violinists who seem to excel at everything they undertake. Following up her Gramophone Bartók/Ligeti/Eötvös Recording of the Year, here come the Stravinsky and Prokofiev Second Concertos. Both were composed within five years of each other but could hardly be more different. Indeed, the Prokofiev inhabits a different universe from its playful neo-classical precursor. Kopatchinskaja states that the work indicates an exquisitely creative “re-ajustment” to Prokofiev’s return to the Soviet Union, an acceptance that “this is the sort of music you have to compose.” She captures the emotional ambiguity of the work perfectly: the uneasy stirring of the G minor opening and the subsequent lyricism tinged with bleakness, her tone impressively kaleidoscopic, alert to every emotional nuance (as are Jurowski and the LPO). The spiritual core is the central movement with its ‘raindrop’ accompaniment – a radiant, rhapsodic oasis, shot through with shards of intensity. The finale seems to tap into Kopatchinskaja’s Moldovan roots: earthy and uncomplicated on one level yet maintaining headlong relentlessness to the last. The Stravinsky is, by contrast, a hard nut to crack, stylistically and psychologically. It took the composer down a path alien to the Russia he’d abandoned,…