Listening to conductor Adam Fischer’s absorbing series of interpretations of Haydn’s late symphonies, one can't help but sense, and thoroughly appreciate, a true meeting of towering intellectual figures. This fifth volume comprises Symphonies Nos. 84-86, composed during the mid-1780s when Haydn had been allowed to publish his music himself and to accept outside commissions, all while continuing his employment with the Esterházy family. These performances by the Danish Chamber Orchestra will surely delight the many who have appreciated Fischer's unique interpretations to date in the series. Critical reaction to previous volumes probably says it all, typified by this appreciation of Volume 4 by Gramophone: ‘Corporate virtuosity is a given and provides immense pleasure at some of Fischer’s agile tempos, not least in the fleet-footed finales of all three works. [His] many admirers will be in seventh heaven, and even those more agnostic will revel in the drive and vivacity he unfailingly imparts to whatever he performs.’

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This release is the audio version of Naxos’ video recording of Richard Strauss’ opera Intermezzo, (2.110780/NBD0188V). Although the work is known in concert halls for performances of its four symphonic interludes, it remains a relative rarity on stage with very few audio recordings available of the complete opera. This refined Deutsche Oper Berlin production is therefore a welcome addition to the catalogue for all collectors of opera, and the works of Richard Strauss in particular. The production was acclaimed for the lush orchestral sound nurtured by conductor Donald Runnicles and the superb cast led by a formidable central performance from Maria Bengtsson. Plaudits were plentiful: ‘Maria Bengtsson is mesmerising as Christine. She handles the nuances (and micro-aggressions) in the music and text flawlessly – a truly impressive performance; the symphonic interludes are lovingly shaped and passionately performed.’ (Parterre Box); ‘Orchestra and conductor Donald Runnicles are in fine form, and, as Christine, Swedish soprano Maria Bengtsson gives the towering portrayal the opera needs to succeed.’ (The Flip Side)

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Lasting over an hour, Respighi’s Sinfonia Drammatica was the last major work he produced before embarking on his celebrated Roman Trilogy. Composed over the period 1913-15, it was his longest and most ambitious orchestral work to date. It’s performed here by the Orchestra Sinfonica Nazionale della RAI under their principal guest conductor, Robert Treviño, who considers the symphony to be Respighi’s magnum opus. Its impressive score features many of the elements which later made Respighi one of the great voices in 20th-century orchestral music. Shot through with echoes of Richard Strauss, Rimsky-Korsakov and others, the work could have no better advocate than Treviño: ‘I’m most proud of this recording. It is my most sincere hope that it will inspire others to help bring this masterpiece into the recognised pantheon of the truly great works of art, and give Respighi the admiration he rightly deserves.’

Daniel Müller-Schott, one of today’s most distinguished cellists, blends masterful cello artistry with a deeply personal musical journey on this remarkable recording. Together with Irina Zahharenkova (cembalo) and Anderson Fiorelli (basso continuo), Daniel brings works by Bach, Vivaldi, Geminiani and Boccherini to life, with the ensemble using the very harpsichord his mother played, the sound of which has accompanied him since childhood. The sonatas unfold with a captivating mix of period elegance, emotional warmth and technical brilliance. Each interpretation reflects intimacy, nostalgia and the music’s timeless power, making this an album that resonates with authenticity, poetry and Baroque radiance.