Credit Tony Cenicola/The New York Times CLASSICAL music is finally embracing the download. Classical music devotees have traditionally been more, well, traditional in their attachment to actual physical recordings. But downloadable music is now a real option, even as record companies keep issuing CDs and DVDs, many more than even most lovers of classical music can keep up with, let alone critics whose business it is to try. So this year the classical music critics of The New York Times had plenty of options when selecting their favorite recordings of 2013.

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We kept the ground rules the same as before: each critic could pick up to five recordings (a CD, a DVD, a download); and, to promote variety, no overlaps were allowed. Several of us, myself included, wanted to pick the recording of the most remarkable new opera to come along in years, but the youngest of the Times critics, Zachary Woolfe, was the speediest about making choices, so that one fell to him. Even as I bemoaned my tardiness, the collective list is breathtaking in its diversity, everything from a recording of early Medieval songs by Machaut, performed by the Orlando Consort, to the American composer (and Alaska resident) engrossing recorded by 34 percussionists in a forest in Vermont, available as a CD, a DVD or a download. People might not think of it, but the Juilliard Store at Lincoln Center has a sizable selection of classical recordings.

If I were running the place, I would thin out some rows of T-shirts and other Juilliard School memorabilia, triple the space for the CD department, and staff it with students who could offer customers expert insights. But you can find anything online these days, including all the selections on the list below. ANTHONY TOMMASINI - JOHN LUTHER ADAMS: ‘INUKSUIT’ (Cantaloupe). This fascinating piece, scored for a battery of percussion instruments dispersed throughout a large space, receives its first recording. Each performance of the work, composed in 2009, varies depending on location and number of instruments: This version, led by Doug Perkins in the woods in Guilford, Vt., features the natural sounds of that environment, eventually reaching a tumultuous crescendo of percussion.

VIVIEN SCHWEITZER BACH: DOUBLE AND TRIPLE CONCERTOS Rachel Podger and Brecon Baroque (Channel Classics). The violinist Rachel Podger leads Brecon Baroque, the ensemble she founded in 2007, in beautifully wrought renditions of Bach concertos for multiple instruments, including the Concerto for Violin and Oboe (BWV 1060R) and Concerto for Two Violins (BWV 1043). VIVIEN SCHWEITZER BELLINI: ‘NORMA’ Cecilia Bartoli, Sumi Jo; Giovanni Antonini, conductor; Orchestra La Scintilla (Decca).

I saw “Norma” nine times at the Metropolitan Opera this fall, so I feel confident endorsing this recording of the opera, which features vibrant conducting, atmospheric playing from a period orchestra and a searching, daring performance from Cecilia Bartoli, the most adventurous major diva of our day (as well as that great rarity, a mezzo-soprano Norma). ZACHARY WOOLFE GEORGE BENJAMIN: ‘WRITTEN ON SKIN’; ‘DUET’ Barbara Hannigan, Bejun Mehta, Christopher Purves, with the composer conducting the Mahler Chamber Orchestra; Pierre-Laurent Aimard, pianist (Nimbus).

An essential record of George Benjamin’s “Written on Skin,” one of the most (more pessimistically: one of the only) unforgettable operas of the last decade or two, a work that seems both old-fashioned and fresh. Timeless, more like it. With a virtuosic cast and its composer leading a committed orchestral reading, it takes its rightful place among the classics. ZACHARY WOOLFE BEETHOVEN: STRING QUARTETS NOS. 3, 5, 16 Hagen Quartett (Myrios Classics; CD). The Hagen Quartett, long and widely respected in Europe, came into its own in New York this fall with a complete cycle of the Beethoven quartets, some of which it has recorded in scattershot fashion. This latest entry maintains the group’s usual, exalted standard.