The most popular of Mozart's symphonies, as rendered by the capable guidance of the BPO's most reliable conductor. These are the yardstick by which all other recordings of Mozart's familiar late symphonies must be evaluated.

Argerich and Abbado were both at their best in the late '60s through the '70s. As a result, this is one of the most uniquely expressive interpretations of both Prokofiev's incredible third concerto and Ravel's first. The recording of "Gaspard de la nuit" appended to this CD edition of the disc is almost unparalleled; only the Pogorelich recording is superior.

Among the best of this very fine series of sonatas; Kremer and Argerich's take on these early Romantic classics isn't quite the most technically superb on record, but it's undoubtedly the most fun of them all!

An ably compiled two-disc set that features the great Russian's tremendous recording of the Dvorák concerto with Karajan and numerous transcribed works with Dedyukhin like Rachmaninov's "Vocalise" and Schumann's "Träumerei," among others. Worth buying just to hear a great performance of Glazunov's "Chant du ménéstral."

Reviled by Bartók purists (for good reason!) and beloved among those who thrill to smooth, fastidious interpretations of the great Hungarian's most colorful orchestral compositions, this was one of DG's more controversial releases. It's inexplicably out of print, but EMI recently released a superbly remastered reissue of these recordings (see below).

This is one of the most exciting and eclectic introductory albums of the '60s.

This is one of the last DG studio releases that really grabbed me by the ear. Pogorelich's approach to Scarlatti's little gems is a typically chilly, weirdly balanced compromise between uniformity and dynamics. Pletnev's recordings of this material sound clumsy in comparison.