Record Review Podcast

Katy Hamilton chooses her favourite recording of Dvořák's 'New World' Symphony

Simon Heighes chooses his favourite recording of JS Bach's Violin Concerto in A minor.

Pianist Iain Burnside chooses the ultimate recording of Schubert’s Impromptus, D935

Natasha Loges chooses her favourite version of Brahms's Clarinet Trio

Richard Wigmore chooses his favourite recording of Beethoven's Symphony No 8 in F.

Nigel Simeone discusses his favourite recordings of Rimsky-Korsakov's Scheherazade

Marina Frolova-Walker chooses her favourite version of Schumann's Piano Quartet, Op.47

Gillian Moore's personal recommendation for Mahler's epic 'Symphony of a Thousand'

Roger Parker chooses his favourite recording of Mozart's Symphony No. 35 in D major

Jonathan Cross with a personal recommendation for Stravinsky's second ballet Petrushka,

A survey of William Byrd with Kirsten Gibson and Andrew McGregor.

Jeremy Sams chooses his favourite recording of Poulenc's Piano Concerto.

Roger Parker's recommendation for the ultimate recording of Puccini's opera Tosca.

Kate Molleson chooses her favourite recording of Prokofiev's Peter and the Wolf.

Composer John Rutter's recommendation of a recording of Brahms's A German Requiem

Nigel Simeone chooses his favourite recording of Smetana's The Bartered Bride

Flora Willson chooses her favourite recording of Mahler's Rückert-Lieder

Mark Lowther nominates the best recording of Sibelius's sixth symphony

Simon Heighes chooses his favourite recording of Handel's Coronation Anthems

Sarah Devonald chooses her favourite recording of Schubert Symphony No. 5 in B flat major, D. 485.When he wrote his fifth symphony at the age of 19, Schubert was working unhappily as an assistant teacher in his father's school. But he was nevertheless on a compositional roll with songs, chamber music and four other symphonies to his name, all of which were performed by amateur and professional musicians made up from family and friends.This genial, small-scale group gave the 1816 premiere of the symphony in the home of Otto Hatwig, violinist in Vienna's Burgtheater orchestra. And the jolly music seems to echo that cheerful ensemble, Schubert picking up from the classical models of 25 years earlier, seemingly oblivious to Beethoven's decade-plus of ground-breaking musical developments that were soon to become so influential.