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In addition to its own wide-reaching monthly new releases (see, Naxos also distributes several leading labels in many countries around the world. Here is a choice selection of recent releases from some of these distributed labels.


"Greek mythology tells us that Apollo set out from the island of Delos every morning with his lyre in hand, bringing light, music and healing to the world. We at Delos share the awareness that our world needs the balm of music." – Amelia S. Haygood, Delos Founder (1919-2007)

Delos has often been called the Great American Label — not only because of Amelia's mission on behalf of American artists but also in recognition of her pioneering efforts for American composers. Beginning with Boston's Musica Viva, she went on to produce the celebrated series featuring Gerard Schwarz, the Seattle Symphony and the New York Chamber Symphony. These recordings of music by Hanson, Hovhaness, Diamond, Creston, Piston and others received Grammy® nominations for the artists, the engineer, and the label, and helped to reawaken American interest in its own classical music. American composers continue to have a voice at Delos, with recording premieres of works by Mark Abel, Jake Heggie, Sean Hickey, Michael McLean, Ben Moore, Tracy Silverman, Frank Ticheli, among others.

SVIRIDOV, G.V.: Russia Cast Adrift (arr. E. Stetsyuk)
Hvorostovsky, Style of Five, St. Petersburg State Symphony Orchestra, Orbelian
Delos DE1631

While greatly revered in Russia, the profound and beautiful music of neo-romantic composer Georgy Sviridov (1915-1998) is hardly known beyond his homeland's borders. His predominantly vocal output reflects his strong affinity for many of the finest Russian poets, who inspired him to compose highly idiomatic music to match the emotional intensity and expressive passion of their verses. Thus did Sergei Yesenin's vivid and moving poetry spark the creation of the stunning twelve-song cycle Russia Cast Adrift.

Legendary baritone Dmitri Hvorostovsky developed especially strong personal and artistic bonds with Sviridov in the composer's final years, compelling Sviridov to compose specifically for him. Dmitri infuses Sviridov's songs with the same emotional intensity, musical insight and sheer vocal glory that have distinguished his many earlier Delos releases.

Joining Dmitri in this world premiere recording of the orchestral version are his long-time collaborators Constantine Orbelian, conducting the St. Petersburg State Symphony Orchestra, and the Russian folk music ensemble Style of Five.

Selected CDs


Svoboda, Michal - BARRIOS MANGORÉ, A. /
LLOBET SOLÉS, M.: La Búsqueda (Guitar Recital)

Michal Svoboda
ArcoDiva UP0191

Michal Svoboda was born in Znojmo (Czech Republic) in 1985. He started his guitar studies with Stanislav Jurica at Pardubice Conservatory. He studied with Alexander Swete at the University of Music and Performing Arts in Vienna and finished his master's degree with honors in 2011. Then, he studied with Tomasz Zawirucha at the conservatory in Feldkirch, Austria. Michal has attended a variety of master courses, for instance with Zoran Dukio, Pablo Marquez and Hopkinson Smith, and has also achieved great success at international guitar competitions, including first place at the International Guitar Competition in Treviso and second place at the International Guitar Festival in Gevelsberg. This is his first recording project, for which he has chosen the works of composers Augustin Barrios (1885-1944) and Miguela Llobet (1878-1938).

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Gulda, Friedrich - MOZART, W.A. / GULDA, F.: Piano Recital
Gulda, Symphonieorchester des Bayerischen Rundfunks, Hager
BR-Klassik 900713

On June 27, 1982, Gulda again appeared at Munich's ''Klaviersommer'' festival. His partner was the jazz pianist Chick Corea, and the collaboration of both musicians is documented on the CD (and DVD) – The Meeting – a standard in recording history. Until now, only the famous second half of this concert has been available and not the first, which Gulda performed on his own and was devoted primarily to Mozart. Gulda thus used Mozart's piano music as a kind of introduction to the world of jazz improvisation.

The first part of this legendary concert, performed at the Deutsches Museum in the summer of 1982, took the soloist Gulda over 40 minutes to perform Mozart's Piano Sonata in C Major, K. 330. He began and ended it with his own improvisations. Gulda proves to be a highly gifted interpreter of Mozart as well as a mischievous improviser on the piano – who also wants to entertain and can do so on a high level. As a transition to the second part of the concert, he performs two of his own compositions, which can also be heard on this album. It is a piece of good fortune that the Bayerische Rundfunk has now made the first half of this concert event accessible to a wide audience too.


ANTHEIL, G.: A Jazz Symphony / Piano Concerto No. 1 /
Capital of the World Suite

Brendle, Dupree, Uram Kim, Rheinland-Pfalz State Philharmonic Orchestra, Steffens
Capriccio C5309

George Antheil's works for the concert hall have mostly fallen into obscurity, so this release will play an important role in informing and entertaining any listeners willing to step out of the box to experience a selection of jazz-influenced orchestral pieces by this so-called Bad Boy of Music (the enfant terrible label was earned following a riot during his Paris piano recital debut in 1923). The Jazz Symphony premiered in 1927 is heard here in its original version. It calls for large orchestral resources to color its melee of dance tunes and disorienting changes of meter. The Piano Concerto No. 1 (1922) may have stylistic allusions to other composers, not least Stravinsky, but it's an imaginative work with lively repartee between soloist and orchestra. Capital of the World, a once highly rated ballet score, is more populist than his earlier futuristic works and packs its own distinctive punch.

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Grand Piano

LOURIÉ, A.: Complete Piano Works, Vol. 2
Giorgio Koukl
Grand Piano GP750

The second volume in Giorgio Koukl's complete survey of Arthur Vincent Lourié's piano music spans the years 1912 to 1938. In that time, the Belarus-born composer embraced extended tonality in Deux Poèmes, Op. 8, huge Scriabinesque chords in Synthèses, Op. 16 and forward-looking harmonic astringency in the Sonatina No. 3. His post-Revolutionary Paris years are represented by a sequence of characterful miniatures.

“an absolutely splendid recital and a worthy successor to Vol. 1. Lourié’s music will hold your attention not just because it’s so good but also because it’s so varied in mood and character.” – The Art Music Lounge

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MUSSORGSKY, M.: A Night on the Bare Mountain / Songs and Dances of Death / PROKOFIEV, S.: Alexander Nevsky
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MUSSORGSKY, M.: A Night on the Bare Mountain /
Songs and Dances of Death / PROKOFIEV, S.: Alexander Nevsky

Kulaeva, Sulimsky, Czech Philharmonic Choir, Cologne Gürzenich Orchestra, Kitayenko
OehmsClassics OC459

A Witches' Sabbath, A Little Dance with the Grim Reaper and The Battle on the Ice. The author of the programme booklet of this album, Hartmut Luck, gave these headings to the three magnificent works recorded for OehmsClassics by the Gurzenich Orchestra with Dmitrij Kitajenko. The Gurzenich Orchestra of Cologne and its Honorary Conductor since 2009, Dmitrij Kitajenko, have been united in an outstanding collaboration lasting over the course of decades. Their Tchaikovsky cycle, now considered a reference recording, was completed in early 2014 with the Seventh Symphony and the Third Piano Concerto. Their recording of Tchaikovsky's one act opera Iolanta issued in the summer of 2015, with Olesya Golovneva, Alexander Vinogradov and Andrei Bondarenko in the leading roles, created a sensation and received outstanding reviews in the international specialist press. This highly successful artistic collaboration was continued with an equally highly praised Rachmaninoff cycle.


BRAHMS, J.: Liebeslieder Waltzes, Opp. 52 and 65 (excerpts) /
Quartets, Opp. 64 and 92

Liepiņš, Latvian Radio Choir, D and S. Kļava
Ondine ODE1295-2

Best known for his gigantic orchestral masterpieces, Johannes Brahms took equal pleasure in writing smaller miniatures. In fact, Brahms wrote a substantial number of pieces for vocal quartet and piano; this ensemble was for him a vehicle for expressing warmth and positive emotions, and as such this genre remains one of the most beloved in his output.

This new recording by the prestigious Latvian Radio Choir under Sigvards Klava, features a selection from his Opp. 52, 64, 65, and 92, including some of his famous Liebeslieder-Walzer. Brahms wrote his earliest waltzes for piano duet and published them as Op. 39 in 1865. Some years later, in 1868-1869, he went on to write the Liebeslieder-Walzer, Op. 52 for vocal quartet and piano four hands. These, in turn, prompted a "sequel" in Neue Liebeslieder, Op. 65 five years later. These warm and vivacious songs are a happy marriage of Viennese waltzes and the love poetry of Georg Friedrich Daumer, and biographers point to a romantic impulse stemming from Brahms's amorous enchantment with the daughter of his close friend Clara Schumann, Julia. Brahms's vocal quartets with piano accompaniment represent an interesting chamber music approach to vocal music. They give the impression of being created for the purpose of intimate music-making at home, among friends. The Liebeslieder-Walzer quickly became one of Brahms's most popular works.

Paladino Music

LEE, S.: Etudes, Opp. 31 and 70
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LEE, S.: Etudes, Opp. 31 and 70
Hartung, Rummel
Paladino Music PMR0083

Sebastian Lee (1805-1887) was one of the foremost cellists of his time, and for over 30 years he taught at the Conservatoire in Paris. Of his numerous collections of studies, Op. 31 and Op. 70 are standard works in every cellist's education. This recording is the last of an acclaimed series of recordings that Martin Rummel made of all major cello etudes, all to be rereleased on Paladino Music within the near future.

Sono Luminus

BJARNASON, D.: Qui tollis / CERRONE, C.: Memory Palace / MCINTOSH, A.: I Hold the Lion's Paw (Beyond)
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BJARNASON, D.: Qui tollis / CERRONE, C.: Memory Palace /
MCINTOSH, A.: I Hold the Lion's Paw (Beyond)

Los Angeles Percussion Quartet
Sono Luminus DSL-92214

Bjarnasson’s Qui Tollis spans an incredible arc, emerging from the contemplative space of the works around it, brimming with the bashes and tumbles of bass drums, and then seemingly too early, vanishes again into a lull and rhythmic groan. With Fear-Release, Reid takes us into a world of metallic voices, as if we're listening to a rubbed piece of crystal from inside the gem itself. It's rare that a piece of music seems to truly sonically shine, and Reid's piece accomplishes this brilliance early and often. Thorvaldsdottir's Aura is the wind, the sand in the wind, and the wind chime hanging from the wood on the old falling-apart porch all at once. It speaks multitudes, and miraculously all upon the quiet edge of audibility.

The expanse of McIntosh's I Hold the Lion's Paw is that of a twelve-hundred-page novel, in which each page has less than a half dozen words. Its sprawl is scrolled out like a web in air, as the quartet communicates effortlessly with one another across a cavern of distance. In one moment, they sit still in space, another they rattle endlessly like the earth; they arrive where we are, simply putting musical puzzle pieces together.

With Memory Palace, Cerrone creates rooms of sound, each drenched in a subtle hue. In the rooms of this ever-expanding house we find ourselves drinking different air, buzzing with pop, hiss, and click, and lingering with a guitarist who could be inside the guitar itself.

SWR Classic

Wunderlich, Fritz: Romantische Arien (Opera and Operetta Recital) (1957-1965)
Various Artists
SWR Classic SWR19032CD

It is well known that Fritz Wunderlich was an exceptional singer, yet it never fails to surprise when hearing him singing works from different genres and discovering how he developed from his early performances in 1953 to the opera arias he preferred later in his career. These are now brought together on this album that contains both famous and unknown arias.

Fritz Wunderlich was both a gifted singer and actor, which made him a perfect match for the Spieloper (dramatic opera), a genre to which most of the works on this album belong. Albert Lortzing (1801-1851) was a leading representative of this genre, as was Otto Nicolai (1810-1849) and Peter Cornelius (1824-1874).

With his remarkable voice, Fritz Wunderlich could also sing Italian opera, in which he tried to establish himself with one of the biggest tenor hits of all time: the canzone La donna e mobile, sung by the Duke of Mantua in Verdi's Rigoletto. While the performance may not sound thoroughly idiomatic, it's pure Wunderlich. And E lucevan le stele certainly provides a goose bumps moment for everyone.

SWR spared no effort in remastering the original tapes to make the voice of Fritz Wunderlich sound fresh and radiant. Both this release and all future volumes of the SWR Fritz Wunderlich series contain recordings the singer made for the company from which the broadcasting company in SWR grew. They are available in this compilation only in this SWR series.

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RESPIGHI, O.: Complete Organ Music
Macinanti, Academia Symphonica of Udine, Pelucchi
Tactus TC871803

Ottorino Respighi's organ music production is probably his most unknown and least considered. Yet it deserves a very special attention because, despite its minor size if compared to the entire corpus of his work, it shows a very secure musical writing capacity rarely found in a non-practicing organist composer. Admired by Igor Stravinskij, Alfredo Casella, Georg Gershwin, Giacomo Puccini as well as by the men of science and culture like Augusto Righi, Enrico Fermi, Albert Einstein and Gabriele d'Annunzio (who called him "pure and firm voice over this confused world of stutterers"), Respighi is partly inspired by Bach (whose admiration is certainly reinforced by his friendship with Ferruccio Busoni) and by Reger German School, without losing sight over the Italian masters' music heritage.

Andrea Macinanti on the extraordinary Serassi-Vegezzi Bossi (1855-1910) organ of the Saluzzo Cathedral, and on the equally mighty Mascioni-Zanin (1951- 2011) organ, is the interpreter of the music by Respighi after also editing the printed edition. The Academia Symphonica di Udine, formed by young musicians led by Pier Angelo Pelucchi, crowns the album by performing the beautiful Suite for strings and organ.

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Selected DVDs

Accentus Music

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MAHLER, G.: Symphony No. 8, "Symphony of a Thousand"
Banse, Fujimura, Mattei, Merbeth, Mingardo, Richter, Schager, Youn,
Chor des Bayerischen Rundfunks, Latvian Radio Choir, Orfeon Donostiarra,
Tölz Boys' Choir, Lucerne Festival Orchestra, Chailly

Accentus Music ACC-10390 [Blu-ray, Full-HD] | ACC-20390 [DVD]

Gustav Mahler's 8th Symphony breaks the boundaries of the symphonic form in a world-embracing gesture. Riccardo Chailly is one of the staunchest performers of this work, and therefore it seemed appropriate in many ways that he chose this work for his inaugural concert as Claudio Abbado's successor and new music director of the Lucerne Festival Orchestra. The artistic statement was combined with a deeply personal conviction: it should be a "tribute to Claudio," the highly esteemed friend and colleague to whom Chailly, as he emphasizes, owes very much. On 12 August 2016, Claudio Abbado's unfinished Mahler cycle with the Lucerne Festival Orchestra was completed in a breathtaking performance of the Mahler 8th, simultaneously heralding in a new era in Lucerne.

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C Major

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BRUCKNER, A.: Symphony No. 3 (1877 version, ed. L. Nowak)
Dresden Staatskapelle, Thielemann
C Major 740904 [Blu-ray, HD] | 740808 [DVD]

Christian Thielemann and the Staatskapelle Dresden already released the Bruckner Symphonies Nos. 4, 5, 6, 7, 8 & 9 and continue their Bruckner Cycle at the Philharmonie in Munich with a ''radiant and majestic'' (The Guardian) performance of Symphony No. 3, also known as ''Wagner Symphony''. Thielemann, a more than experienced Bruckner interpreter, has once again proven himself as the top of his class, with masterly control over a shining wind section, which ''pushed the audience deeply into their seats.''

With ''moments of disruptive suspense and intense audio density he displays the full musical maelstrom of Bruckners Symphony No. 3'' (Munchner Merkur). ''Thielemann and the Dresdeners played with Third radiant and majestic, clean ensemble giving a welcome illusion of structural clarity.'' (The Guardian about the performance at the Proms) ''...the orchestra unfolds from the beginning in fullest splendor.'' (Suddeutsche Zeitung)


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VERDI, G.: Don Carlo [Opera] (Teatro Regio di Parma, 2016)
Bini, Bonfatti, Bros, Bucciarelli, Cornetti, Farnocchia, Simon Lim, Orlov, Pertusi, Stoyanov, Parma Teatro Regio Chorus, Filarmonica Arturo Toscanini, Oren
Dynamic DYN-57776 [Blu-ray, HD] | DYN-37776 [DVD] |
CDS7776.03 [CD]

First performed in French at the Paris Opera in 1867, Don Carlo is in many ways an amazingly innovative work. The opera seems to underline Verdi's shift from the Manichean division between good and evil, which had been a clear, structural element of his dramaturgy up to that point in his career. In this opera, Verdi assembles all his mainstay music theatre themes: power, with its honors and burdens; the contrasts of impossible love; the conflict between father and son; and an oppressed people demanding freedom. Verdi radically revised the score in 1883, using an Italian libretto and reducing the opera from five acts to four.

The popularity of Don Carlo has grown unremittingly ever since, with today's critics almost unanimously recognizing it as one of Verdi's greatest masterpieces, an opera that continues to reveal new gems.

Daniel Oren is fully in control on the podium, ensuring unanimity between orchestra and singers. The Maestro softens the dark tones of the score, which are well reflected in the visuals, choosing instead to emphasize the various changes of mood.

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Opus Arte

PUCCINI, G.: La Bohème / Tosca / Madama Butterfly [Operas] (2003-2006)
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PUCCINI, G.: La Bohème / Tosca / Madama Butterfly [Operas]

Various Artists
Opus Arte OA1240BD [6-DVD Box Set]

Giacomo Puccini is arguably the best-loved of all opera composers, and here together are three of his finest works showcasing the full compass of his creative power. In lavish productions from Madrid's Teatro Real, Jesús López Cobos directs an outstanding cast led by Inva Mula and Aquiles Machado in a cinematic account of bohemian life in Paris, directed by Giancarlo del Monaco, while Daniela Dessì plays the fiery singer Tosca in Nuria Espert's staging of lust, betrayal and revenge in Rome.

The heart-breaking tale of abandonment and hope in Nagasaki comes to life, with Cheryl Barker and Martin Thompson at the helm of an inspired cast in a production staged by the legendary innovator Robert Wilson for the De Nederlandse Opera.

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