Our Choices The BBC Music Magazine team’s current favourites

Jeremy Pound Acting editor As I prepare to unleash my ropey light-baritone on a local performance of Mozart’s Requiem, I’ve been hunting for a recording to practise to. Two of my favourite versions – conducted by Harry Christophers and Masaaki Suzuki – hare off at a pace that I can’t possibly keep up with, so eventually I settle on Herbert von Karajan’s 1986 recording with the Vienna Philharmonic. Karajan’s broader vision is not one I’d naturally lean towards, but after a few run-throughs in its luxurious company, I find I’m rather taken with it. Alice Pearson Cover CD editor

I’ve always been fascinated with music written by well-known composers for unlikely instrumental

forces. Recently, my more eclectic listening has included acoustic versions of hits by the 1980s Norwegian synth band A-ha, featuring the harmonium and other unusual classical music instruments. This in turn led me to explore Dvoˇrák’s Bagatelles for two violins, cello and harmonium. Dvoˇrák himself often played the harmonium with musician friends and it’s clear in these Bagatelles – as heard on an excellent recording from the Vogler Quartett with harmonium player Oliver Triendl – that he enjoyed showcasing the instrument’s qualities.

Michael Beek Reviews editor

Having enjoyed discovering Manchester Collective through their recent EP and album releases, not to mention a wonderful BBC

Proms performance on the radio, I simply had to take in the first concert of the ensemble’s new residency at St George’s Bristol. Am I glad I did! It was a brilliantly theatrical 50 minutes featuring provocative and memorable music. George Crumb’s Vox Balaenae was the thrilling highlight, performed by masked players under blue lights. Freya Parr Digital editor and staff writer While everyone around me at the Nottingham Half Marathon was skipping along to the upbeat disco tracks, my running soundtrack was slightly more demonic. The driving beat and pipe organesque textures of Mahan Esfahani’s recording of Górecki’s Harpsichord Concerto were just what I needed to get me over the finish line through gritted teeth. I paired it with music by Brighton-based post-punk band Squid, which was similarly dystopian and frenzied. Surprisingly good bedfellows.