The comparison here is between two very mature artists, always taking the broader view, and two very young artists out to extract the maximum from every detail. When reviewing the Barenboims (on HMV) way back in 1968, I remember being enchanted by the sheer beauty and speaking quality of so much in their playing, especially in the F major Sonata, yet sometimes worried by quite so much elasticity in phrasing. Jacqueline du Pré uses more vibrato than Piatigorsky in the interests of expression and her cantabile often comes across with more radiance as a result. Balance is finely judged by the acutely sensitive Barenboim: never does the piano dominate the low-voiced cello. Listening to them anew I felt that this is how Brahms might have liked to hear both sonatas played on one of his several visits to sunny Italy. Piatigorsky and Rubinstein are by no means tied to the metronome either, but because less concerned with detailed nuance, they convey more of the underlying solidarity of backbone—and perhaps the composer's North German seriousness, too. In the E minor work their slightly faster tempo for the first and last movements helps to suggest a stronger sense of direction. Piatigorsky's tone is very mellow even though less luminous than Jacqueline du Pré's. Rubinstein is marvellously sturdy for one considerably more than double Barenboim's age, but at this point I come to the crux of the matter. I sometimes wondered if he was fully aware of his own sturdiness, since the balance so often goes against the cello. It would make dull reading to cite chapter and verse, though nearly every movement in both works includes an example save the finale of the E minor work, where the counterpoint is finely matched. As so often, it's a roundabouts and swings situation when it comes to making a clear-cut recommendation. The best way out, of course, is to buy both versions.

-- Gramophone [7/1977, comparing the Brahms Cello Sonatas as played by Piatigorsky and Rubinstein with the recording by Du Pré and Barenboim]

Busoni considered Alkan equal to Chopin, Schumann, Liszt and Brahms, and Raymond Lewenthal measures up to the fearsome demands of this music with expressive gusto.

Busoni considered Alkan equal to Chopin, Schumann, Liszt and Brahms where piano music concerned, but he remains a peripheral figure. Le Festin d'Esope clearly illustrates the reasons for his compromised status: although marked by spiralling imagination, his tendency to overstatement sometimes verges dangerously on insanity. The tiny, but ravishing, Barcarolle is perhaps the most completely satisfying piece on the record, although the weirdly expressionist Quasi-Faust movement from his second sonata is always gripping. Raymond Lewenthal measures up to Alkan's fearsome demands with expressive gusto; the piano sound, though good for the mid Sixties, is at times a touch constricted.

-- Jan Smaczny, BBC Music Magazine

Words and music by Stephen Sondheim.

Principal cast includes: Joss Ackland (Fredrik Egerman), Jean Simmons (Desirée Armfeldt), Hermione Gingold (Madame Armfeldt), David Kernan (Count Carl-Magnus Malcolm), Veronica Page (Anne Egerman), Maria Aitken (Countess Charlotte Malcolm), Terry Mitchell (Henrik Egerman), and Diane Langton (Petra).

Tracks:
1. Overture / Night Waltz Performer: Liz Robertson (Singer), John J. Moore (Singer), Chris Melville (Singer), David Bexon (Singer), Jacquey Chappell (Singer)
2. Now / Later / Soon Performer: Joss Ackland (Singer), Terry Mitchell (Singer), Veronica Page (Singer)
3. Glamorous Life, The Performer: Hermione Gingold (Singer), Jean Simmons (Singer), Liz Robertson (Singer), Christine McKenna (Singer), John J. Moore (Singer), Chris Melville (Singer), David Bexon (Singer), Jacquey Chappell (Singer)
4. Remember? Performer: Liz Robertson (Singer), John J. Moore (Singer), Chris Melville (Singer), David Bexon (Singer), Jacquey Chappell (Singer)
5. You Must Meet My Wife Performer: Jean Simmons (Singer), Joss Ackland (Singer)
6. Liaisons Performer: Hermione Gingold (Singer)
7. In Praise Of Women Performer: David Kernan (Singer)
8. Every Day A Little Death Performer: Veronica Page (Singer), Maria Aitken (Singer)
9. Weekend In The Country, A
10. Sun Won't Set, The Performer: Liz Robertson (Singer), John J. Moore (Singer), Chris Melville (Singer), David Bexon (Singer), Jacquey Chappell (Singer)
11. It Would Have Been Wonderful Performer: David Kernan (Singer), Joss Ackland (Singer)
12. Perpetual Anticipation Performer: Liz Robertson (Singer), Chris Melville (Singer), Jacquey Chappell (Singer)
13. Send In The Clowns Performer: Jean Simmons (Singer)
14. Miller's Son, The Performer: Diane Langton (Singer)
15. Finale: Send In The Clowns (Reprise) / Night Waltz (Reprise)

This disc was nominated for the 1998 Grammy Award for "Best Small Ensemble Performance."
John Adams is one of the major faces on the scene of late 20th century music composition. Known best as a minimalist, Adams' style has really varied quite a bit. "Shaker Loops" is a piece firmly rooted in the minimalist style. Harmonic motion is either slow or non-existent and rhythm often becomes the focus. This four-movement work explores many different colors, varying from impassioned to atmospheric.
"Phrygian Gates," for solo piano, is becoming part of the standard repertoire. Unlike other minimalist piano compositions, the length is not prohibitive, and it is quite accessible to listen to. There are many repeated figures and harmony, but the music has a bit more swing than "Shaker Loops," and is warmer in mood.
The "Chamber Symphony" is very jazzy, but not harmonically static. Sound fragments seem to overlap and interact, and in many cases it almost sounds as if acoustic musicians were imitating a record on the wrong speed, a tape played backwards, or some other non-acoustic sound. All of this is played with style and commitment by the Ensemble Modern.

Track Listing
1. All in Love Is Fair
2. Skip-A-Long Sam
3. Send in the Clowns
4. Least You Can Do Is the Best You Can, The
5. They Needed Each Other
6. I Loves You, Porgy
7. Until It's Time for You to Go
8. Life Is a Wheel
9. Summer Knows, The
10. Beautiful Thing, A
11. Time for Farewell, A - (bonus track)

Personnel: Cleo Laine (vocals); James Galway (flute); Tony Hymas, Don Grolnick (keyboards); Cliff Morris, Bob Rose (guitar); John Miller (bass); Roy Markowitz (drums).

Producers: Mike Berniker (tracks 1-10); Kurt Gebauer, John Dankworth (track 11).

Engineers: Mike Moran, Ed Begley (tracks 1-10); Frank Catero (track 11).

Recorded at RCA Studios B & C, New York on July 10-12, 1974 and Studio D, Sausalito, California in August 1993.

Recording information: New York, NY (07/10/1974-07/??/1993); RCA Recording Studios, Studio B&C, New York, NY (07/10/1974-07/??/1993); Studio D, Sausalito, CA (07/10/1974-07/??/1993).

Photographer: Nick Sangiamo.

Arrangers: Tony Hymas; John Dankworth.