The Best Recordings of the Century (So Far)
When Radio 3 drops a 9.5-hour mixtape, I take notes.
I think I’ve mentioned before how much radio I listen to - mainly BBC Radio 3 (that’s the classical one). One of my favourite programmes is Record Review on Saturdays, where presenter Andrew McGregor introduces new releases and hosts a segment called Building a Library. In it, he and a specialist compare different recordings of the same piece, section by section. It’s all very nerdy, I admit.
Last Monday, though, the station did a full takeover: 9.5 hours of the best classical recordings of the century (well, the past 25 years). I listened to almost all of it (so you don’t have to!). It was an opportunity to discover new music, hear “best in class” interpretations of favourites, and even spot a few recordings I’ve already shared here (a nice bit of validation).
Here are some that really stood out to me:
Symphony No. 5, III. Romanza – Ralph Vaughan Williams
Royal Liverpool Philharmonic Orchestra, cond. Andrew Manze
I wasn’t familiar with this piece before. I know a fair bit of Vaughan Williams’ vocal music (in my first newsletter I mentioned his Serenade to Music, which is still one of the most beautiful choral works I know). But this movement, Romanza, from his Fifth Symphony is such a peacful way to start your morning.
Manze’s pacing just makes sense, and the recording quality is fantastic. It actually won an award, and I can see why. It’s simply beautiful - deeply expressive, and absolutely worth your attention.
Et incarnatus est, Mass in C minor – W. A. Mozart
Gabrieli Consort, cond. Paul McCreesh, soprano - Camilla Tilling
Let’s unpack the title quickly (feel free to skip this if you're comfortable):
Et incarnatus est – This is the text from a specific part of the Latin Mass.
Mass in C minor – That’s the title of the piece. The key isn’t hugely important for our purposes.
Composer - Mozart (yes, that one).
Gabrieli Consort – The orchestra.
Paul McCreesh conducts; Camilla Tilling sings the soprano solo.
This part of the Mass is notoriously difficult to sing. First, it’s long—almost 7 minutes of sustained singing. And then there’s the Mozart problem: music teachers always give Mozart to young singers because the range is manageable and the lines look simple. But that’s the trick. There’s no big orchestra to drown imperfections or unusual harmonies to divert attention.
About 4 minutes in, Mozart starts throwing in all these giant vocal leaps, high sustained notes, and a little exposed trio with the flute and oboe—just to make it extra difficult. But Camilla Tilling makes it sound effortless. I hadn’t listened to this in a while and was honestly taken aback by how perfect her singing is here. Truly astonishing.
Madama Butterfly – Giacomo Puccini
Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia, cond. Antonio Pappano, Angela Gheorghiu (soprano), Jonas Kaufmann (tenor)
I’ve shared this recording before, but it’s just too good not to bring up again. Angela Gheorghiu and Jonas Kaufmann are in their absolute prime, and conductor Antonio Pappano works magic here.
It’s easy to overlook conductors, to think they’re just waving their arms around. But they’re responsible for both the big-picture shape and the tiniest details. Pappano, who just wrapped up his long tenure at the Royal Opera House (though they seem to be calling it something else now… why?), is a legend in opera circles. He understand the music so deeply, the way he structures the piece is so natural and moving.
Here’s the love duet between Butterfly and Pinkerton on their wedding night. Yes, the story is deeply problematic (I’ve written about it in a previous newsletter), but musically? It’s glorious. Listen for the way Pappano builds the orchestra to the final climax. It’s thrilling.
Symphonic Dances from West Side Story, IV. Mambo – Leonard Bernstein
Simón Bolívar Symphony Orchestra, cond. Gustavo Dudamel
I saw the Venezuelan Simón Bolívar Orchestra live for the first time this year, with their superstar conductor Gustavo Dudamel. I’ve honestly never experienced anything like it in a classical concert. The audience - felt like every Venezuelans living in London was there -was electric.
Once the encores started, the crowd went wild. People stood up, cheered, waved flags, cried, refused to let the orchestra leave the stage.
This orchestra is a national pride and part of El Sistema, a music education programme in Venezuela for children from underprivileged backgrounds. Dudamel himself grew up in the system and became musical director in 1999 - when he was just 18.
This Mambo from Bernstein’s West Side Story has become their signature piece. When they performed it at the Proms in 2007, they blew the roof off. It’s joyful, electric, and full of movement, literally. The musicians dance. Watch this:
Étude No. 14 – Philip Glass
Piano -Víkingur Ólafsson
You might remember I shared another of Glass’s Études in a previous newsletter on minimalist composers. But now feels like the right time to spotlight Víkingur Ólafsson.
This Icelandic pianist is considered one of the best alive today, but when this album came out, he was a relative unknown. Most pianists work their way through competitions to build a name and reputation. Ólafsson didn’t. He just appeared, fully formed.
This debut album (he recorded a couple before under his own label but this was his first under a major label) is unusually bold. Instead of playing it safe with familiar repertoire, he dove straight into relatively niche Glass. It’s such a confident move - and completely justified, when you’re that good.
His touch is precise, crystalline, and somehow still gentle. I went through a phase of listening to every recording of this étude, and his is in a league of its own. His speed is unmatched, but it never feels rushed. The others sound heavy and clunky by comparison.
Try listening to the left hand - the same four notes repeated the entire time. Hypnotic.
Cello Sonata No. 7, III. Largo – G. B. Platti
Cello - Abel Selaocoe
Abel Selaocoe is a self-described "genre-defining cellist", he often blends classical cello with traditional instruments and singing.
In this case, he takes an 18th-century sonata and layers it with a kora—a West African string instrument made from a gourd. The result is a piece that feels freer and completely fresh. Selaocoe constantly surprises. You never quite know what you’re going to get, but it’s always authentic and exciting.
He also did a Tiny Desk concert just last month - worth checking out if you want to hear more:
La Prima Vez – Anonymous
Tenor - Karim Sulayman, Guitar - Sean Shibe
Proof that the classical music world is tiny: I met both Karim Sulayman and Sean Shibe separately on two different continents. Karim in Toronto at a music festival and I spent a year in theory class with Sean Shibe at college. Fifteen years later, they released this stunning album together, which was nominated for a Grammy.
Sean is widely considered one of the best classical guitarists of his generation (some say ever!). He’s also one of the most interesting, always pushing boundaries. This track, sung in Ladino (a Sephardic Jewish language now basically extinct), is so simple and so moving. Great to see this album get the recognition it deserves.
City Called Heaven – Traditional
Soprano - Julia Bullock, Piano - Christian Reif
Julia Bullock’s name has been popping up more and more over the past few years. She performs both opera and concert repertoire and has made a name for herself partially as American composer John Adams’ "muse."
She calls herself a "classical vocalist—a singer who seeks classics," which I love. It captures how she moves between genres with real ease and warmth.
This track is from her Grammy-winning debut album, which she recorded with her husband Christian Reif on piano. It’s beautifully curated, with real emotional throughlines and I’d honestly recommend listening to the whole thing.
Also, her version of I Wish I Knew How It Would Feel to Be Free (made famous by Nina Simone) is one I loved.
That's it from me this week, a bit of a long one but I hope you found something new to dig into. Thanks for sticking around and, as always, happy listening.
Have a good weekend!