I still recall the affirmation of the woman seated behind me at the end of a live Brahms recital close to 35 years ago. "Oh, that Brahms!" she sighed, with a tone of appreciation and thanksgiving that encapsulated the feelings of several thousand people in the audience. You too will likely sigh as you listen to pianist Horatio Gutierrez, Andre Previn and the Royal Philharmonic Orchestra perform the heavenly third movement Andante of Brahms' great Piano Concerto No. 2, available on the Telarc release Everybody's Brahms.

It's the music of a man who unfailingly channeled the sadness, torments, and beauties of life into his unforgettable melodies. What's especially wonderful is that the Second Piano Concerto, as well as the Piano Concerto No. 1 in D minor, Intermezzo in A minor and Ballade in G minor from Brahms' Six Pieces, Op. 118, and the Variations on a Theme by Joseph Haydn for Orchestra all appear on Everybody's Brahms. Taken as a whole, the disc gives a wonderful picture of Brahms as the master of the heart's call.

You'll hear the same soul-tugging outpouring at the start of the Haydn Variations. The majesty and warmth that Brahms brings to the opening theme are unmistakably his own. That same breadth of spirit opens the First Piano Concerto, and cleanses the soul with tears at the start of the second movement Adagio. In between come larger dramatic statements, all genuine to the core. The wonderful pieces from Op. 118 are the final kiss.

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Mythbuster would be a good subtitle for Gloria Cheng-Cochran's classic Telarc recording, Piano Music Of John Adams & Terry Riley. Those only minimally familiar with the piano music of these two era-defining American composers will find themselves surprised by how far afield they travel from the minimalist structures with which they are often associated.

Despite the fact that Riley's revolutionary In C inspired the minimalist movement, his music soon evolved in multiple directions. Some of the styles that he embraced are heard in Cheng-Cochran's world premiere recording of The Heavens Ladder, Book 7 (1994); its five movements draw as much from Riley's background in ragtime, jazz, and North Indian classical music as they do from minimalism.

The work's first and last movements, dedicated to Riley's just born twin grandchildren, Misha and Simone, could not be more dissimilar. The first is all high energy, the last a most tender and melancholic lullaby. In between come the fabulous Ragtempus Fugatis, with its references to Bach and far beyond; a Fandango on the Heaven Ladder that unites Spain and Satie; and the edgily romantic "Venus in '94." It's easy to love this music.

Even the earliest significant piano pieces by Adams show him using minimalism as a launching pad. His short China Gates (1977), a companion piece to the CD's 26-minute closing work, Phrygian Gates (1977-1978), sparkles and glistens with magical light. As for the longer work, its many variations and wide-ranging emotional impact give strong indication of Adams' future trajectory.

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For an artist so long associated with rock, it's surprising to discover how lyrical Paul McCartney can be. As I listen to his beautiful ballet score, Ocean's Kingdom, commissioned by New York City Ballet, I feel, most of all, the extreme beauty of his imagined ocean landscape. The conflicts and clashes of his imagined plot do eventually arise, setting aflame The London Classical Orchestra conducted by John Wilson. But, it's the warmth of the ocean that stays with us as the score proceeds.

McCartney explains that he composed the score without preconceptions. "Composing music for me isn't a studied art but something completely felt, like the blues. I enjoy the fact that I don't know the landscape. [Not feeling] the shadow of the great ballet composers like Tchaikovsky or Stravinsky. I based what I wrote on my own personal experience."

McCartney's experience, it's essential to note, is rooted in our current destruction of ocean species (and so much else) in our relentless pursuit of oil and so-called technological advancement. His allegorical plot reflects this in his imagined attempt of the heavies, commanded by King Terra, to steal the purity of the ocean (symbolized by Honorata). McCartney hopes that Ocean's Kingdom will help remind us that predictions of ecological doom, with the concomitant death of so many living creatures including ourselves, could indeed come true. The beauty of his music reminds us how precious life is.

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With over 1 million CDs sold, The Celtic Tenors have earned their reputation as the most successful classical crossover artists Ireland has produced. Embracing repertoire that Irish tenors of earlier eras would never have imagined, their irresistibly warm vocal blend, catchy contemporary orchestrations, and pop crooner sensibilities have gone straight to the hearts of music lovers worldwide. For their seventh album, Feels Like Home, the three Celtic Tenors have chosen a winning assortment of touching love songs.

Their music includes two traditional ballads, unconventionally arranged by Coney Island Publishing (of Ireland!), as well as tunes by Randy Newman, Richard Thompson, and the very un-Irish sounding Yusuf Islam. Some composers may have Irish surnames, but their melodies, lyrics, and orchestration bespeak pop sensibilities. If you love PBS broadcasts of crossover artists, you will find yourself unable to resist dropping strong hints to your loved one about what a wonderful Christmas present this album would make. More likely, you'll stuff your own stocking long before Santa makes his veiled appearance.

The Celtic Tenors emerged early in the century, after what an impromptu audition for EMI in London netted them an international record deal. All have classical training. Although handsome Matthew Gilsenan opted for an engineering career over classical performance until The Celtic Tenors emerged, both James Nelson and Daryl Simpson have backgrounds in opera. You wouldn't know it from this Feels Like Home, which replaces classical affectation with welcoming sweetness and comfort. A winner.

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