Sir Simon Rattle and the Berlin Philharmonic continue to be top of the classical music pile. They boast a full complement of recordings that sell extremely well and the orchestra’s own benchmark digital delivery system, the Digital Concert Hall. The ‘Hall’ is sponsored big time by Deustche Bank and is state of the art in HD, production and direction. That it has the world’s greatest orchestra and finest conductors doesn’t hurt, either.

Rattle can (and does) conduct and record whatever he likes — a testament to his incredible musicianship, the love the players have for him and the esteem in which he is held by recording companies. Everyone wants Rattle.

The striking women on the cover is the London Philharmonic's new star principal flute, Juliette Bausor.

London and Paris trained, Bausor is but one of a long list of wonderful young players filling important posts worldwide. Bausor follows in the footsteps of some wonderful long retired LPO principals like Richard Adeney and Jonathan Snowden, both of whom recorded superb Mozart Concertos, much like the fabulous Mozart heard here on Bausor's new Signum Records release.

Coupled with the Mozart G Major Concerto (and his lesser known works for flute, the Andante in C and Rondo in D), is the problematic child of 'modern' flute concertos, the eccentric and enigmatic Flute Concerto (1926) of Carl Nielsen.

We'll give Supercuts the best Heldenleben sound award but also laziest, poorly designed cover. How long did it take to cobble that together? A last minute afterthought, surely? Each original EMI cover is much better and reissues from Biddulph and Testament. 

Enough of that nonsense, let's get to the glories of this reissue, the performance and sound.  

I'm ashamed to say I did not know this recording. I've played the piece so many times, the middle 'war' section, which goes on far too long, put me off buying many recordings. 

I've known the work since I was a baby. My father, a Strauss expert, had a recording with what I felt was a very scary cover with a scary man on it. Turns out it was von Karajan, who, it turns out became my own Strauss hero. 

There's no in between with the recorder. It's either a toy in a child's hands or you're an international virtuoso like Marion Verbruggen or Michala Petri. Yet in Lucie Horsch, we have that rarity. Both. At 17, the Dutch girl already has an enviable reputation as soloist on her instrument. And what other recorder player gets a Decca recording contract while still at school?

Presently, Horsch is a student at the Sweelinck Conservatorium in Amsterdam. She has an assured technique paired with outstanding musicianship and musicality. Her playing is so good, it invites comparison with the best recorder players such as the two ladies mentioned above. Horsch matches both for technique and musicality. 

This magnificent box set came after the somewhat ill advised 2012 Stereo Box Set. Those LPs were remastered from digital masters and have received mixed reviews. For most, the stereo records would be perfectly satisfactory. But for many Beatles enthusiasts and completists, back to the originals are the recordings they lust after.

Reflection informs most of the performances on the latest CD release from the great Italian pianist, Maurizio Pollini. He recently celebrated his 75th birthday, maybe the perfect time for reflection, especially with the autumnal works chosen here. But let's not forget, 'autumnal' in Chopin years is 30 to 35, young by any other standard. He died at 39 of tuberculosis. And it seems a lot of worldly stress was informing his life. A break up with George Sand, fights with her kids, money troubles and lingering illness. All affected his inspiration.

Pierre-Arnaud Dablemont’s CD of Beethoven Sonatas on Resonus Classics brings a fresh approach and a superb recording to these often recorded works. The Parisian born and Brussels based French pianist has a fluent technique and produces a lovely tone, but it’s his musicality that wins here.