Nigel Simeone selects his favourite version of Richard Strauss's Don Quixote.

Edward Seckerson chooses his favourite recording of Shostakovich's Symphony no.5.

Jeremy Sams chooses his favourite recording of Ravel's Piano Concerto for the Left Hand.

Dedicated to 'dem lieben Gott' (the beloved God), Bruckner's monumental Ninth Symphony in D minor was intended to be the culmination of his life's work. Bruckner began working on the Ninth Symphony in the summer of 1887, immediately after finishing his Eighth, but he died in 1896 before finishing the fourth and final movement. Nonetheless, Bruckner's Ninth Symphony is often performed as a mighty, visionary large-scale three-movement work. Shimmering strings and low brass start the opening movement, Feierlich, misterioso, followed by the Scherzo and an achingly expansive Adagio.

Franz Schubert's last chamber piece, the String Quintet in C major (D. 956), is one of the most sublime pieces in the repertoire. It is scored for a standard string quartet plus an extra cello. The work remained unpublished at the time of Schubert's death in November 1828 and after it was belatedly premiered and published in the 1850s, it gradually gained recognition as a masterpiece. Knowing that Schubert died so soon after composing the work, makes many people hear a valedictory quality in the music.

The Serenade's status as a darkly dazzling 20th-century classic is founded on Britten's unerring ear for finding and setting English poetry, coupled with his instinctive sense of instrumental and vocal virtuosity. Its six texts, from Ben Johnson to Tennyson, deal with night and the corruption of innocence, themes which preoccupied Britten throughout his career. Both the solo writing and the interplay between voice and horn are based on the strengths of the two musicians for which it was written, Britten's long-time partner, Peter Pears and the horn player Dennis Brain. They made the first recording in 1944, a year after the premiere, and since then many subsequent recordings, most often featuring British tenors, have followed.

Bach's Concerto for two violins in D minor, BWV1043, affectionately known as the 'Double Concerto', is one of the most popular works of the Baroque repertoire. The two solo parts of this concerto have survived in Bach’s own handwriting, in an autograph that dates from around 1730, when Bach was living in Köthen.

The outer movements illustrate the influence of the Italian Baroque style on Bach in their brisk rhythms, fugal imitations and much of the intricate passage work, while the central movement is deeply expressive as the melodic lines weave between the two violins.

Born in Moscow 150 years ago this year, Alexander Scriabin's music for solo piano has been recorded by many of the great pianists over the last century. But where to start if you're not familiar with this late-Romantic, sometimes elusive repertoire? David Owen Norris is on hand to navigate through some key pieces and makes some recommendations.

Building a Library: Jeremy Sams recommends his favourite recording of Ravel's Daphnis and Chloe (complete ballet).

Maurice Ravel described his ballet, Daphnis and Chloe as a choreographic symphony. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. Ravel began work in 1909 after a commission from Sergei Diaghilev and it was premiered in Paris by his Ballets Russes in 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. With rich harmonies and lush orchestrations it is one of Ravel's most popular works.

Simon Heighes recommends his favourite recording of Haydn's Symphony No 49 in F minor, 'La Passione'.

This sombre and darkly dramatic Haydn symphony is one of a series of visceral minor key symphonies reflecting Haydn's reaction to the German proto-Romantic literary movement, 'Sturm und Drang' – Storm and Stress – where passionate subjectivity and turbulent self-expression were the order of the day. The symphony was one of the most popular during Haydn's lifetime and its ominous, almost continuous F minor intensity and arresting dynamism still make an impact today.

Pianist Lucy Parham picks through the greatest recordings of Rachmaninov's 2nd Piano Sonata.

Sergei Rachmaninov's Piano Sonata No. 2, Op. 36, in B-flat minor was composed in 1913 and revised it in 1931. Three years after his third piano concerto was finished, he moved with his family to Rome and started working on his second piano sonata. It is a mighty but technically challenging piece. Rachmaninov himself was not satisfied with the work and revised it in 1931. In 1940, the pianist Vladimir Horowitz created his own edition which combined elements of both previous versions.

Building a Library: Emily MacGregor recommends a her favourite recording of Béla Bartók's Concerto for Orchestra.

For Bartók, the circumstances surrounding the composition of his Concerto for Orchestra could hardly have been more miserable. In 1940 he fled his native Hungary to escape the Nazis and spent the remaining five years of his life in the United States, those years blighted by despair, painful illness and abject poverty. But unknown to Bartók, two fellow Hungarians, violinist Joseph Szigeti and conductor Fritz Reiner, conspired to persuade Serge Koussevitzky to offer a generous commission. In 1943, the glamorous conductor of the Boston Symphony Orchestra visited Bartók in his New York hospital, and flamboyantly presented the composer, not only with a commission for an orchestral work but also a $500 down payment. Bartók began work in August and finished the Concerto for Orchestra just under three moths later. It spotlights, often with brilliance and playfulness, all the sections of the orchestra and perhaps only its central Elegy, which Bartók called a 'lugubrious death-song', reflects the circumstances of its composition. The work's recorded history begins at the beginning in 1944 with Koussevitzky and the Boston SO and has been much recorded ever since, a 20th-century classic by one of the century's greatest composers.

Katy Hamilton surveys the key works and recordings of American composer Amy Beach and chooses her favourite.

Born in 1867 in New Hampshire, Amy Beach became the first successful American female composer, and her 'Gaelic' Symphony was the first symphony to be composed by an American woman. Despite great success during her lifetime, Amy Beach's music was neglected after her death in 1944, but enjoyed a renaissance in the late 20th century.

Jeremy Summerly chooses his favourite version of Monteverdi's Vespers.

Marina Frolova-Walker recommends a version of Prokofiev's Fifth Symphony in Building a Library.

Sergei Prokofiev wrote his Symphony No 5 in B-flat major in just a month in the summer of 1944 during World War II. He intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." The 1945 premiere was conducted by Prokofiev himself and the symphony has remained one of the composer's most popular works.

Perhaps the first of Mozart's extraordinary sequence of 'late' piano concertos, the D minor, K466, has attracted pianists as varied as Edwin Fischer and Mitsuko Uchida, many directing the orchestra from the keyboard. Tom Service guides us through a selection of the finest of these, with a recommendation for the essential recording to buy, download or stream.

Pianist Iain Burnside with a recommendation of the ultimate recording of the third, and arguably greatest, of Beethoven's five sonatas for cello and piano.

Edward Seckerson recommends a version of Shostakovich's Leningrad Symphony.

Dmitri Shostakovich’s Symphony No. 7 in C major was at first dedicated to Lenin. But eventually the composer dedicated it to the besieged city of Leningrad, where it was first played in 1942, during the siege by German and Finnish forces. It soon became popular in both the Soviet Union and the West as a symbol of resistance to fascism and totalitarianism. The work is still regarded as an important musical testament to the 27 million Soviet people who lost their lives in World War II.

Natasha Loges compares recordings of Brahms's String Quintet No 1 in F major, Op 88, and chooses her favourite.

Brahms composed his String Quintet No 1 in F major in 1882 during a summer sojourn in the Austrian Spa town of Bad Ischl. Like the Mozart string quintets, it is written for two violins, two violas and one cello and Brahms intimated to his friend Clara Schumann that it is one of his finest works. To his publisher, Simrock, he said 'that you have never before had such a beautiful work from me'.

The Quintet comprises three movements: a glowing Allegro non troppo ma con brio and an exuberant fugal finale bookend an expansive and passionate slow movement.

Henrich Schütz is one of the most important composers before JS Bach. But with over 500 surviving works and despite his pivotal position as the first German composer to achieve international fame and repute, Schütz is perhaps still not as well known as he should be. Kirsten Gibson surveys recorded collections of the 17th-century composer and recommends the best one for anyone unfamiliar with his music.

Roger Parker talks to Andrew about the wide range of approaches to one of Mozart's masterpieces, the Divertimento in E flat, K563, from classic recordings from the 60s and 70s to young ensembles' recent additions to the catalogue.

Mark Simpson compares recordings of Richard Strauss's Eine Alpensinfonie and chooses his favourite. The epic Alpine Symphony is Strauss's vivid evocation of the thrills and spills of a day out in his beloved Bavarian Alps, including dangerous moments and a glacier on the way up to a spectacular view from the summit. On the way down there's a violent thunderstorm and at the end, as the sun sets and night falls, the deep, emotional satisfaction of having completed an arduous and exhausting journey. The 1915 tone poem thrillingly tests an orchestra, at once collectively, its individual sections and its principal players. And it also tests a conductor who has to convincingly marshal a score calling for 130-plus musicians including 34 brass players (with 12 offstage horns) and a percussion section stocked with, among other things, wind machine, thunder machine and cowbells. Spare a thought, too, for the recording engineers... Presented by Andrew McGregor.

Hannah French surveys the key works works and recordings of Czech composer Jan Dismas Zelenka and chooses her favourite.

Zelenka was born in Central Bohemia in 1679 and, after his musical education in Prague and Vienna, he spent most of his professional life in Dresden. Much admired by Bach for the harmonic inventiveness of his counterpoint, and friends with Telemann, Pisendel and Weiss, Zelenka was considered one of the giants of the Baroque era. Zelenka's music is also inspired by Czech folk music and it was Smetana who is credited with rediscovering the music of his forebear during the 19th century.

David Owen Norris chooses his favourite recording of Elgar's Violin Concerto.

Elgar's Violin Concerto in B minor was composed for the violinist Fritz Kreisler, who gave the premiere in London in 1910 - and Elgar made a recording with the young Yehudi Menuhin in 1932 that has become a classic. The score has the inscription "Herein is enshrined the soul of ....." The five dots are one of Elgar's enigmas, and many names have been suggested to fit the inscription. Elgar said of the Violin Concerto, "It's good! Awfully emotional! Too emotional, but I love it."

Presented by Andrew MacGregor.

Iain Burnside chooses his favourite recording of Mahler's Kindertotenlieder.

There has never been a more prodigiously talented child composer than Felix Mendelssohn and proof of that is his Octet. Written in 1825 when he was 16 years old, it was unprecedented in form: there had been double quartets but nothing like this where all the instruments are combined with unique brilliance and clarity of texture. Above all, though, it's the Octet's sheer lyrical joyousness and exuberant energy that set it apart, the teen Mendelssohn's generosity of spirit thrillingly combined with his compositional genius.

Haydn's Mass in Time of War is sometimes known as his Paukenmesse because of his prominent use of timpani for dramatic effect. It's one of the best known of his fourteen mass settings, and has been lucky on record. Richard Wigmore talks to Andrew about the work and about the very different approaches performers have brought to it, and settles on the ultimate recording to buy, download or stream.

Nigel Simeone chooses his favourite recording of Lehar's The Merry Widow.

The Merry Widow by the Austro-Hungarian composer Franz Lehár is one of the most popular operettas in the repertoire. It's the story of a fabulously rich widow, and the political shenanigans involved in making sure her fortune stays in the principality by finding her the right husband. Since its 1905 premiere in Vienna, it continues to captivate and charm audiences with its tuneful score, including hits such as the "Vilja Song", "You'll Find Me at Maxim's" and the "Merry Widow Waltz".

Presented by Andrew McGregor.

Simon Heighes compares recordings of Bach's Coffee Cantata and chooses his favourite.

Among Bach's secular cantatas, perhaps the most famous and frequently recorded is Schweigt stille, plaudert nicht – the Coffee Cantata – BWV 211.

Probably composed in 1734 for a performance at Leipzig's Zimmermann Coffee House with the student group collegium musicum, the comic cantata satirises the Saxon obsession with coffee, depicting a family dispute between father and daughter, Schlendrian and Liesgen, at odds about the benefits of the hot drink.

Sarah Devonald chooses her favourite recording of Saint-Saëns's Carnival of the Animals.

The Carnival of the Animals is a glorious romp in fourteen movements by Camille Saint-Saëns. It is for two pianos and chamber ensemble; and is among his most popular. Includes well-known movements like Elephants, Fossils and the Swan.

Presented by Andrew McGregor.

Allyson Devenish compares recordings of Schumann's Liederkreis, Op 39, and chooses her favourite.

Schumann's Liederkreis, Op 39, is considered to be one of the greatest song cycles of the 19th century. Composed in 1840, Liederkreis comprises 12 songs which set poems by the German Romantic poet, Joseph Freiherr von Eichendorff. Together, the 12 songs explore themes of loss, loneliness, nocturnal mystery, ecstasy and reverie. Schumann himself considered the Liederkreis, Op 39 to be the most romantic music he had ever written, and he wrote to his wife that the cycle had 'music of you in it, dearest Clara'.

Presented by Kate Molleson

Musicologist Marina Frolova-Walker chooses her favourite recording of Rachmaninov's Rhapsody on a Theme of Paganini.

Rachmaninov's Rhapsody on a Theme of Paganini, a set of dazzling variations for piano and orchestra on Paganini's 24th Caprice for solo violin, was premiered in 1934 in Baltimore by the Philadelphia Orchestra and Leopold Stokowski with Rachmaninov playing the solo part. Rachmaninov had already written four piano concerti, and this Rhapsody parades as a one-movement piano concerto that takes Paganini's theme on a journey through brisk and highly virtuosic variations at the beginning and end and through richly lyrical variations in the slower middle section. The Rhapsody has become a cornerstone of the virtuoso piano repertoire and it has also been adapted for ballet.

Presented by Andrew McGregor.

Music researcher and writer Katy Hamilton chooses her favourite recording of Liszt's Sonata in B minor.

When Clara Schumann described Liszt's 1854 Piano Sonata in B minor as 'truly terrible' it reflected an influential school of 19th-century thought (Brahms fell asleep when he first heard it). But for Liszt himself it was his breakthrough piece which established him as a 'proper' composer, one for whom musically-driven formal organisation and inspired ingenuity were paramount, rather than a mere pianist whose music was generated by the need to demonstrate his transcendent technique.

Posterity has sided with Liszt, not Clara – and so have successive generations of performers, reflected in a recorded legacy that is a veritable Who's Who of the great pianists of the last century and our own.

Presented by Andrew McGregor.

Leonard Bernstein's exuberant Chichester Psalms was one of the composer's many strong connections with the UK, commissioned for the 1965 Southern Cathedrals Festival at Chichester Cathedral. Music journalist Edward Seckerson talks to Andrew about the background to the piece, whilst whittling down the available recordings to come up with the finest recording to buy, download or stream.

Musicologist Professor Natasha Loges chooses her favourite recording of Beethoven's Kreutzer Sonata. Beethoven's Violin Sonata in A major, Op.47, more commonly known simply as the Kreutzer Sonata, is one of the most technically challenging pieces in the violin repertoire. Leo Tolstoy immortalised the work in his notorious and daring 1889 novella The Kreutzer Sonata, which was promptly censored by the Russian authorities and, a year later, prohibited in newspapers in the USA. Beethoven composed his Kreutzer Sonata in 1803 and originally dedicated it to his friend and leading virtuoso of the day, George Bridgetower. They premiered the work together in May 1803 at Vienna's Augarten Theatre, allegedly sight-reading the entire work. Shortly afterwards, the two men fell out and Beethoven changed the dedication to the French violin pedagogue, composer and conductor, Rudolphe Kreutzer. It is said that Kreutzer himself hated the sonata and refused to play it. The dedication, however, has remained. It is a lengthy three-movement work in which a serene Andante with variations is bookended by two fiery outer movements. Presented by Andrew McGregor.

Nigel Simeone chooses his favourite version of Brahms' 3rd Symphony.

Iain Burnside chooses his favourite recording of Mozart's Quintet for Piano and Wind K.452. Mozart wrote his famous Quintet in E flat major for Piano and Winds in 1784 and it was premiered at the Imperial and Royal National Court Theater in Vienna. Shortly afterwards, Mozart wrote to his father: "I myself consider it to be the best thing I have written in my life." It is scored for piano, oboe, clarinet, horn and bassoon. And most people seem to agree with the composer that it is indeed one of his best pieces - with its amazing wind-writing and life-enhancing energy. Presented by Andrew McGregor.

Musicologist Dr Flora Willson chooses her favourite recording of Mahler's orchestral song cycle Das Lied von der Erde.

Mahler's Das Lied von der Erde, 'Song of the Earth', is a set of six songs for two voices and orchestra, but is it a song-cycle or a symphony? Mahler certainly intended for Das Lied von der Erde to reflect the world in co taining everything, the whole range of human emotions and earthly experience, but the work doesn't easily fall into either the category of song-cycles or truly symphonic works. Mahler drew his texts for Das Lied from a compendium called The Chinese Flute, a translation of Chinese poems by the German poet Hans Bethge.

Mahler wrote Das Lied von der Erde in 1908-9 within a year of losing his beloved daughter Maria and receiving the diagnosis of the heart condition that would kill him in 1911. The work begins and ends with two of Mahler's most famous songs: Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Sorrows) and Der Abscheid (The Farewell), a hauntingly beautiful, bleak and heartrending farewell to life as the 'sun sets behind the mountains.' The intervening songs are the introspective‘Der Einsame im Herbst’ (The Lonely One in Autumn) for mezzo soprano, the sprightly ‘Von der Jugend’ (Of Youth) for tenor, ‘Von der Schönheit’ (Of Beauty) depicting an innocent scene by a river bank where girls are picking flowers but are then briefly threatened by the arrival of boys on horseback, and ‘Der Trunkene im Frühling’ (The Drunkard in Spring).

Presented by Andrew McGregor.

Conductor and choral expert Jeremy Summerly chooses his favourite recordings of Carl Orff's iconic cantata, Carmina Burana. Carl Orff composed his cantata in 1936, based on 24 poems from the medieval collection Carmina Burana. The poems cover a wide range of subjects, which are just as topical today as they were in the 13th century: the fickleness of fortune and wealth, the ephemeral nature of life, the joy of the return of spring, and the pleasures and perils of drinking, gluttony, gambling, and lust. Orff said to his publisher "Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin." It became the most famous piece of music composed in Germany at the time. Presented by Andrew McGregor.

Academic and Sibelius enthusiast Dr Leah Broad chooses her favourite recordings of Sibelius' Violin Concerto. Presented by Andrew McGregor.

Baroque music specialist Dr Simon Heighes chooses his favourite version of Bach's Motets. These technically challenging works contain some of Bach's very best music and can be thrilling in performance by a top-notch group of singers. They're also the only of Bach's vocal works that stayed in the repertoire without interruption between his death in 1750 and the 19th-century Bach Revival. Recordings reviewed include performances by The Sixteen and Voces8 & The Senesino Players. Presented by Andrew McGregor.

Pianist and composer Yshani Perinpanayagam chooses her favourite recording of Shostakovich's Piano Concerto No. 2. We hear at the keyboard, amongst others, Alexander Melnikov, Cristina Ortiz and the composer himself. Presented by Andrew McGregor.

Broadcaster and baroque flautist Hannah French selects her favourite recording of CPE Bach's Cello Concerto in A Major. Cellists featured include Alison McGillivray, Steve Isserlis and Truls Mørk. Conductors range from Andrew Manze and Jonathan Cohen to Gustav Leonhardt and Susanne von Gutzeit. Andrew McGregor presents.

Writer Anna Picard chooses from her favourite recordings of Bedřich Smetana's set of six symphonic Czech tone poems, Má Vlast. Performances range from 1939 to 2016, and include no less than six versions by the Czech Philharmonic. Andrew McGregor presents.

Writer and lecturer Richard Wigmore chooses his favourite recording of Haydn's Oxford Symphony, No. 92 in G Major.

Performances featured include: the Hanover Band, conducted by Ron Goodman; the London Symphony Orchestra with Colin Davis; and Thomas Fey conducting the Heidelberger Sinfoniker.

This is an edited version of the regular Building a Library slot where guest experts review available recordings of a work from the classical music repertoire and give a recommendation. Presented by Andrew McGregor.

Nigel Simeone picks his favourite recording of Stravinsky's Violin Concerto in D

David Owen Norris chooses his favourite version of Vaughan Williams's Sea Symphony.

Katy Hamilton picks her favourite recording of R Schumann's Piano Quintet in E flat major

William Mival picks his favourite recording of Tchaikovsky's Symphony No 5 in E minor

Lucy Parham picks her favourite recording of Mozart's Piano Concerto No 24 in C minor