"[This collection] shows Richard Stoltzman, with his succulent tone and infectious bravura (so easily displayed in the finale of the Weber and the very operatic Rossini Variations), at his best...One tends to think of Weber's concertos as being rather more than halfway between the classical and romantic traditions, here the romanticism is very much in the ascendent. But overall the performance of the F minor Concerto combines a lively impetus in the outer movements with warmth in the Adagio whilst the orchestra—notably the horns—add much to the listener's enjoyment."

-- Ivan March, Gramophone [10/1989]

MOZART: SERENADE NO. 9 POSTHOR

The special interest here is the ''world premiere recording'' of Schumann's first Piano Quartet in C minor, completed in March, 1829, when he was still only 18. Though his Leipzig piano teacher, Friedrich Wieck, and other discerning music-loving friends found much in the work to praise after a domestic performance by Schumann and some fellow-students, he himself lost faith in it and the score remained unpublished until the Schumann scholar, Wolfgang Boetticher, prepared a performing edition in 1979. The gem of the four movements is the nimble Minuetto, with a trio (its leading theme reappears in the fourth of his Op. 4 Intermezzos for solo piano) subsequently picked out by him as the moment when he first recognized himself as a ''romantic... departing from the former musical style''. The tenderly spun Andante is winning too, and even though the Beethoven-cum-Schubert-inspired faster flanking movements (the last dominated by an obsessively reiterated dotted rhythm) need—and I think in this performance receive—some pruning, both have an irresistible youthful elan. Andre Previn and his three colleagues cannot be over-praised for coming to the Quartet's rescue with such immediacy and warmth of sympathy.

Though never enjoying the popularity of the Piano Quintet, the E flat Piano Quartet, written some 13 years after the C minor work, has rarely lacked dedicated protagonists. These players hold their own with them all, especially the very lively pianist with his keen ear for textural clarity.

-- Joan Chissell, Gramophone [5/1993]

The substantial opening Moderato of the Flute Concerto (commissioned and premiered by Galway in 1992 with Slatkin and the Saint Louis Symphony Orchestra) starts and finishes like some lost instalment from Prokofiev's Romeo and Juliet, but the bulk of the movement is given over to a wistful chaconne which Liebermann then proceeds to work out with a graceful fluency and imaginative resource that will surprise no one already familiar with the thirdmovement passacaglia of Liebermann's impressive Second Piano Concerto. If the two remaining movements aren't perhaps on quite the same level of inspiration, the solo writing is grateful, the scoring stylish and the whole work makes a most appealing addition to the genre.

In many ways, the Piccolo Concerto (1996) shares the same ground-plan as that of the Flute Concerto, its first two movements again displaying a mastery of variation technique, followed by a wittily ebullient finale (which quotes from Mozart's Symphony No. 40, Beethoven's Eroica and Sousa's The Stars and Stripes Forever). The central Adagio is especially reminiscent of Shostakovich in its icily atmospheric chill, but there are strong echoes of the Russian master throughout (whom Liebermann openly acknowledges as 'one of my biggest musical influences').

Galway is his usual immaculate self, as effortlessly assured an exponent of the piccolo as he is a flautist. Moreover, the London Mozart Players respond with enthusiasm under the composer's shapely lead.

-- Gramophone [2/1999, reviewing the Liebermann works]

---------------------------------------

In this expert, sweet-toned and affectionate music-making, these fine artists audibly enjoy themselves hugely, responding to Arnold's idiomatic and resourceful writing as to the manner born. I especially enjoyed Galway and friends in the sparkling early Three Shanties for wind quintet (written in 1943 for the composer's LPO colleagues) and the delicious Divertimento for flute, oboe and clarinet (1953). Cast in six pithy movements (and masterfully played here), the latter piece contains invention of great freshness and charm, with definite echoes of the English Dances from the same period.

In the wistful central Andante of the First Flute Concerto (1954), Sir Neville Marriner and his beautifully prepared Academy strings provide a poignant backdrop to Galway's ravishing playing, and this music's kinship with the great slow movement of Arnold's Second Symphony (completed the previous year) is most perceptively brought out.

-- Gramophone [4/1998, reviewing the Arnold works]

---------------------------------------

...it goes without saying that Galway's personality and virtuosity are commanding... He gives a brilliant and confident account of the 1926 Concerto, and here also serves as conductor...

-- Gramophone [2/1988, reviewing the Nielsen concerto]

PIERRE MONTEUX EDITION VOL 11

This program of five motets and sixteen chansons is presented as a collection of the composer's six-part works. In fact, besides its acknowledged omission of Praeter rerum seriem, it ignores ten more six-part motets in the Smijers edition, of which The New Grove works-list downgrades four to the doubtful category (the others have more or less claim to authenticity, a big debate among Josquin scholars). On the other hand, only nine of the chansons are six-voice pieces, and one of those is doubtful.

The King's Singers, who have recently moved to their new label, offer music more rarefied than their usual popular collections, demonstrating an affinity with other Oxbridge graduates who currently dominate the English early-music scene. The six male voices are nicely balanced, as usual, and their idiomatic interpretations are quite satisfactory. The five-voiced lament for Ockeghem and the four-voiced Mille regretz are among the more familiar items, while O virgo prudentissima seems to be a first recording. The sound is clear, the notes by David Fallows are useful, and texts come with translation. This is a good addition to the Josquin shelf, hardly too crowded anyway.

-- J. F. Weber, FANFARE [5/1994]

"...The thrumming heartbeat of the dying Christ is omnipresent through these meditative intervals in the Passion reading, and the great strength of the Guarneri's performance lies in their instinctive understanding of its function... Their introduction is much slower, more deeply etched than that of Kremer and his band on Philips: there is a true sense of moment here, with a real Largo for the 'Pater, dimitte illis' which, in turn, breathes more naturally with the implicit underlay of the movement's silent words. Having taken the pulse, they then maintain it exactly for the following movement, under the sweet cantabile of the violin... The Guarneri's is, not surprisingly perhaps, an altogether warmer, more homogenous and less febrile reading... This, then, is a deeply thoughtful, powerfully paced reading..." -- Hilary Finch, Gramophone [4/1988]

Throughout his career Fritz Reiner showed a particular affinity for the music of Richard Strauss. Here he delivers an exceptionally vivid account of Don Quixote – each bizarre episode from the eccentric knight’s adventures is portrayed with razor-sharp insight. One notices, in particular, Reiner’s miraculous attention to detail, his unfailing grip on the structural direction of the work and the superb response from both soloist and orchestra. With its flashes of sardonic wit, the earlier Burleske makes for an excellent coupling, and illustrates Reiner’s formidable prowess as a concerto accompanist. By any standards, a self-recommending issue.
Performance: 5 (out of 5); Sound: 5 (out of 5)

-- Erik Levi, BBC Music Magazine

GOULD: FALL RIVER LEGEND, INTE

This disc is also available in the complete 65-CD Jascha Heifetz set (RCA 61778). In addition, it contains a selection titled "Heifetz on Music", which was recorded in 1970 in California and lasts 9 minutes 40 seconds.

There’s no question that these performances must rank among the most gripping in the catalogue.

Tantalisingly brief chunks that make one regret all the more that Reiner never made a studio recording of a complete Wagner opera. There’s no question that these performances must rank among the most gripping in the catalogue. Not only is the playing stunningly disciplined in execution, but Reiner manages to draw an infinite range of colours from the orchestra. Sound quality in the earlier RCA Victor Orchestra sessions is more variable, but it does not detract in any way from the obvious attractions of this release.

-- Erik Levi, BBC Music Magazine

PIERRE MONTEUX EDITION VOL 10

PIERRE MONTEUX EDITION VOL 12

PERGOLESI: STABAT MATER, SALVE

Even toward the end of her career Christa Ludwig was in lustrous voice and sang with an innate understanding of these songs.

Christa Ludwig was one of the leading operatic and recital singers of the post war generation... The disc devoted to lieder makes for very rewarding listening. The groups by Strauss and Mahler strike me as being particularly fine. Even towards the end of her long career Ludwig was able to call upon the resources of tone which these songs so often demand. This is not to imply that the offerings of Schumann or Brahms are in any way inferior. In these, too, she is in lustrous voice and sings with an innate understanding of the idiom. The programme is artfully chosen not only to present composers with whose music Ludwig had a particular affinity but also, just as importantly, with regard to the inevitable limitations the years may have placed upon her vocal resources. Suffice to say there is little or nor hint that we are listening to a singer aged 65. ...[T]he whole lieder recital is taken from a disc entitled ‘Farewell to Salzburg’ and comprises the programme which she chose for her final recital in that city in August 1993. The recordings themselves were made in the previous January during performances in the Schloss Grafenegg in Haitzendorf, Austria... The discs will give much pleasure for they are full of high quality artistry and all admirers of this great singer will want to snap up these recordings.

-- John Quinn, MusicWeb International [reviewing the box set RCA 84597]