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TAKEMITSU: Spirit Garden. Solitude Sonore. Three Film Scores for String Orchestra: Music of Training and Rest (from Jose Torres); Funeral Music (from Black Rain); Waltz (from Face of Another). Dreamtime. A Flock Descends into the Pentagonal Garden. Bournemouth Symphony Orchestra, Marin Alsop (conductor). Naxos 8.557760. (62' 37").

Toru Takemitsu dragged international attention to classical music being composed in 20th century Japan, though his background was largely as a self-taught composer. Born in 1930 he learned much by experiencing performances of works from the Western World and soon came under the atonal influences of the Second Viennese School. His early music was given a mixed reception, and it took time for his unusual approach to writing - which later took on a distinct feel of modern France - to win friend, many high profile conductors eventually performing his orchestral scores. This new release covers much of his career, the earliest, Solitude Sonore, dating from 1958, through to Spirit Garden completed two years before his death in 1996. At the heart of the disc is one of his best known compositions, A Flock Descends into the Pentagonal Garden, an exotic and readily attractive score. There is the wash of sound loved by Debussy in Spirit Garden and something of Messiaen in Dreamtime composed in 1982, yet throughout these works they have the unmistakable musical fingerprints of Takemitsu. That he was also able to work in the 'commercial' world comes in three extracts taken from his many film scores, the style changing to 'easy to listen to' modern classics. Marian Alsop draws gorgeous and immensely detailed playing from the Bournemouth orchestra, the mix of exotic and subtle colours in the Pentagonal Garden piece never having sounded so utterly attractive. The engineers have provided exquisite sound quality, the whole anthology a wonderful addition to the catalogue.

HANDEL: Solomon. Ewa Wolak (Solomon), Elisabeth Scholl (Queen/Second Woman), Nicola Wemyss (Queen of Sheba/First Woman), Knut Schoch (Zadok/Attendent), Matthias Vieweg (Levite), Junge Kantorei, Frankfurt Baroque Orchestra, Joachim Carlos Martini (conductor). Naxos 8.557574-75 (2CDs). (160' 07").

Handel's arrival in London in 1713, and his subsequent decision to live in England, provided the nation with a much-needed musical figure made more valuable by his ability to provide operas that could be exported back to Germany. It was in this sector of his career that London particularly wanted him to succeed, though as the years passed their support of his new works began to wane. It was at that juncture, and in need of money, he returned to oratorio. Not only did the change prove highly successful but the performances wiped off his mounting debts. It was to bring an Indian Summer to his life, Solomon, composed on 1749, being one of his masterpieces. His move from his customary drama to a love story drew music of beauty unequalled in any of his works. To most listeners the score is known by its orchestral interlude, The Arrival of the Queen of Sheba, and throughout it is the orchestra that makes a very positive contribution. By this stage Handel had dispensed with castratos and gave the major role to a mezzo-soprano. The three females here acquit themselves well, Ewa Wolak a mezzo who sounds uncommonly like a male alto, her opening air, What tho' I trace, setting the scene for her commanding presence. I particularly enjoyed the silvery voice of Elisabeth Scholl, the duet with Wolak, Welcome as the dawn of day, being one of the great joys of the disc. The two male singers are more tested by Handel's writing, Knut Schoch at his best when florid passages come to an end. Diction is hardly passable English apart from the chorus that is exemplary, so one regrets the booklet does not print the text. The timpani are too prominent, which may be the fault of the recording, but elsewhere the orchestra is very good and the recording achieves a realistic concert hall balance between voices and instruments. There is not a great deal of competition, and at the Naxos price it is well worth investigating.

FINZI: Earth and Air and Rain, Op. 15. To a Poet, Op. 13a. By Footpath and Stile, Op. 2. Roderick Williams (baritone), Iain Burnside (piano), Sacconi Quartet. Naxos 8.557963. (71' 54").

The first volume of Finzi's songs was a runaway CD success story of last year, Roderick Williams now continuing with a further three song cycles. Finzi did write music on a large scale, but his cameo songs stand among our musical treasures. They were subsequently gathered together to form more extensive works, Earth and Air and Rain covering ten songs that range from the sad to the happy as the title would suggest. Completed in 1932, Finza had begun to put behind him the melancholy of his sad early years, the songs on Hardy's words gelling together to form a convincing whole. To a Poet, was published after his death and we seem to have come full circle, returning to musical despondency. So far as I can find, By Footpath and Style is receiving its first recorded performance, and comes from Finzi's young years and very much in the Vaughan Williams pastoral mood. It is accompanied by a string quartet, here played with great feeling and style by the young Sacconi Quartet. I don't want to make exaggerated claims, though in Roderick Williams's hands you are very tempted, but this has to be one of the most sadly neglected pieces of British music. Throughout he is in magnificent voice, diction so spotlessly clean and clear, intonation in the centre of every note. Just try track 16 to sample perfect affinity with the words and music he is performing. Singer and pianist regularly appear on stage together and that shows in the deep understanding of every subtle nuance of tempo and dynamic. The engineers have created just about the most ideal sound for a song recital, the whole package another triumph for British music.

LISZT: Symphonic Poem No. 1: Ce qu’on entend sur la montagne (What is heard on the mountain), S95. Symphonic Poem No. 7: Festklange, S101. Symphonic Poem No. 11: Hunnenschlacht (Battle of the Huns), S105. New Zealand Symphony Orchestra, Michael Halasz (conductor). Naxos 8.557846. (62' 35").

Liszt was always persuasive when painting musical pictures, though today we only hear on a regular basis one of his twelve symphonic poems, Les Preludes. It is left to the record labels to keep the remaining works in the mainstream public domain, Naxos's decision to offer the full cycle is particularly welcome in the hands of the Hungarian conductor, Michael Halasz. Festklange, dating from 1853, is the least known work on the disc, the music simmering but rarely reaching boiling point. It was composed to mark the composer's impending marriage, but the expected jubilant atmosphere never materialises. The most extensive score, Ce qu’on entend sur la montagne, is based on a poem by Victor Hugo, its many sections and changing moods lasting around half an hour and, all but in name, is a linked three-movement symphony. Two revisions both orchestrated by Raff, started life in 1848 and were eventually completed in 1854. The score has its purple patches but relies on subtle shades to paint a pastoral scene among passages of more trouble times. Maybe drama attracted Liszt most of all, Hunnenschlacht inspired by a painting depicting the struggle between Emperor Theodoric, and the pagan villain, Attila the Hun, drawing a highly charged score. The New Zealand orchestra provide warm and cleanly played performances, the recording ensuring inner clarity, though you need to play it way above your normal setting to create the required impact. A most welcome project.

HANSON: Organ Concerto, Op. 22 No. 3. Nymphs and Satyr - Ballet Suite. Fantasy Variations on a Theme of Youth. Serenade for flute, harp and strings, Op. 35. Summer Seascape No. 2. Pastorale. Joseph Jackson (organ), Doris Hall-Gulati (clarinet), Holly Blake (bassoon), Gabriela Imreh (piano), Jonathan Blumenfeld (oboe), Andrew Bolotowsky (flute), Adriana Linares (viola), Jacqueline Pollauf (harp), Philadelphia Virtuosi Chamber Orchestra, Daniel Spalding (conductor). Naxos 8.559251. (61' 28").

Howard Hanson was one of the first generation of composers wholly educated in America, though his Swedish ancestry was to play an important part in influencing his style of composition. From the outset of his working life he moved into education, and for forty years was the Director of Eastman School, during which time he brought it into the premier league of music university conservatories. He was also to become known as a distinguished conductor, and throughout his life built a sizeable catalogue of compositions. They were written in the tonal mode, and though a product of the 20th century, he never embraced the more radical developments that came from atonality. The present disc covers most of that career, the earliest being the powerful Organ Concerto completed in 1926. The often unusual juxtaposition of organ and orchestral sonorities is particularly attractive, its many varied sections contained within one movement.  The suite from the ballet, Nymphs and Satyr, is a more conventional and lyric score, a description that equally applies to the gently attractions of the first two movements of the Fantasy Variations for piano and orchestra dating from 1951. The fast and vigorous finale requires agility from the soloist, but I was less taken with the two works for flute - Serenade and Pastorale. Hanson proves to be at his most persuasive when painting musical pictures, Summer Seascape from 1958 being cast is subtle colours. Performances and recordings are uniformly good, the solo flute placed just a little forward.

REINECKE: Harp Concerto in E minor, Op. 182. Flute Concerto in D major, Op. 283 (arr. Gallois). Ballade, Op. 288. Fabrice Pierre (harp), Patrick Gallois (flute), Swedish Chamber Orchestra, Fabrice Pierre (conductor), Patrick Gallois (conductor), Naxos 8.557404. (55' 27").

Born in Germany in 1824, Carl Reinecke was known in his lifetime as a conductor and pianist, and on his death his legacy became that as the teacher of the next generation of important composers. Yet he composed throughout his life and in most genres, his affinity being with Schumann and Mendelssohn, though in his long life - he died in 1910 - his style become totally outdated. In the years that followed his death his music largely fell into oblivion, living on by the three works included in this release. They are charming scores, the Harp Concerto, dating from 1884, being of lyric invention, the orchestra providing a gentle backdrop for the bell-like sonorities from the harp. The finale flows with greater impetus, though the result is still one of geniality. The Flute Concerto dates from twenty-four years later, and is a score of outgoing virtuosity. Patrick Gallois has resolved differences that exist between the printed solo part and the composer's complete score, the results being here recorded. Opening in sprightly mood, with the flute dancing around the accompaniment in its elaborate decoration, the central movement brings sadness, the feel of nostalgia leading to a dramatic orchestral outburst. Returning to the world of showmanship for the mercurial finale, the soloist is called upon for a display of dexterity as the music chases to its conclusion. The Ballade received the composer's final opus number, and here we find a belated move to a more modern idiom, its sinister opening moving through a scherzo-like section to end in hope. The soloists are superb and characterise the music with the required charming innocence, Gallois having a silky smooth tone that is perfect for the music. They alternate in directing the excellent Swedish orchestra. The sound quality is ideal.

VILLA-LOBOS: The Jet Whistle. Quintette instrumental. Song of the Black Swan. Duo for Violin and Viola. Five Songs. Mobius. Naxos 8.557765. (59' 15").

Though Heitor Villa-Lobos was the best-known 20th century South American composer, recordings of his music usually have a short shelf life. That makes interest from the top selling Naxos label all the more important, none of the works on this release presently in your high-street shop. They show how diverse and variable his music could be, the Quintette, dating from 1957, a straight spin-off from Debussy's Danse sacree et danse profane. That comment I intend as a recommendation, for the result is quite delectable, with Alison Nicholls' sparkling harp wandering its way through a sensuous wash of sound. It follows The Jet Whistle for flute and cello, the music strong in virtuosity but short of melodic inspiration. The Black Swan glides past to the backdrop of a rippling harp, with the disc moving forward to something closer to atonality in the astringent three-movement Duo for Violin and Viola. And finally to Five Songs without voice, that role taken by flute, the music in pleasingly melodic mode. Mobius is technically outstanding, Lorna McGhee's flute getting around some finger-twisting dexterity with considerable skill. Unfortunately the engineers have placed her forward and ideal balance suffers, but don't let that deter you from some pleasurable music. 

VERDI: Don Carlos (Highlights) Jaakko Ryhanen (Philip II), Lars Cleveman (Don Carlos), Peter Mattei (Rodrigo), Bengt Rundgren (The Grand Inquisitor), Hillevi Martinpelto (Elisabeth de Valois), Ingrid Tobiasson (Princess Eboli), Iwa Sorenson (Tebaldo), Klas Hedlund (The Count of Lerma/A Royal Herald), Chorus and Orchestra of the Royal Swedish Opera, Alberto Hold-Garrido (conductor). Naxos 8.557894. (77' 46").

Taken from the three-disc set of the complete 'Italian' version of the opera, Don Carlos is not easy to extract highlights, but in this well filled disc you have most of the work's purple patches. Always difficult to cast with the need for six great singers in the leading roles, Stockholm opted for a 'home-grown' team to create a dramatic realisation of the story, this atmosphere of the staged presentation transferring very well to disc. Lars Cleveman is the potent Carlos with a ringing top to his voice, a quality that proves a foil to the Peter Mattei's smooth Rodrigo. Ingrid Tobiasson's Princess Eboli is thrilling, though just lacking the dark qualities I enjoy in the role, while reliable contributions come from Jaakko Ryhanen's King Philip and Hillevi Martinpelto's Elizabeth. There are occasional stage noises, though only the applause reminds us of its 'live' origin. Alberto Hold-Garrido conducts with urgency, and it is the splendid orchestra that provides the performance's jewel in the crown. Good realistic sound quality.

KILAR: Piano Concerto. Bogurodzica (Mother of God). Siwa Mgla (Grey Mist). Ko´scielec 1909. Waldemar Malicki (piano), Wieslaw Ochman  (baritone), Warsaw National Philharmonic Choir and Orchestra, Antoni Wit (conductor). Naxos 8.557813 (68' 46")

Born in Poland in 1932, Wojciech Kilar became a dedicated advocate of the minimalist school of composition, far more radical than, for instance, John Adams. Kilar's use of repetition brings a hypnotic effect to much of his work, but my personal preference is for his works that use this as the backdrop to a melodic line, Grey Mist being a particularly beautiful piece for baritone and orchestra. It also works well in the driving rhythm of the Toccata that concludes the Piano Concerto, and acts as a foil for the repose of the long central movement and static quality of the opening Andante. The disc begins with a side-drum calling us to arms in Bogurodzica, a work for mixed chorus and orchestra on a Polish hymn sung in times of war and peace, while Ko´scielec 1909 finds Kilar's approach to minimalism more relaxed in its format. Throughout he places a heavy responsibility on the performers to meticulously observe and make clear the subtle shifts of harmony and dynamics. In the Warsaw orchestra he has found admirable advocates. Apart from counting the repeated bars, Waldemar Malicki's piano part is not challenging, and I much enjoyed Wieslaw Ochman's singing, his voice of outstanding quality. Expertly recorded and a valuable addition to our 20th century legacy.

WILLIAMSON: Symphony for Voices. Love, the Sentinel. English Eccentrics Choral Suite. Requiem for a Tribe Brother. Joyful Company of Singers, Peter Broadbent (conductor). Naxos 8.557783. (69' 42").

Born in Australia in 1931, Malcolm Williamson spent much of his working life in the UK, a successful composing career eventually leading to the honorary position of Master of the Queen's Music. Yet he was never to win many friends in the world of recording, his current discography appallingly slight. Working in conventional tonality, his music does not court easy popularity, long flowing melody not part of his vocabulary. The choral writing is challenging on the performers, intervals between notes often difficult to centre, the five movements of the Symphony often devilish to pitch and requiring exact balance between voices. Maybe your safe entry point would be the very attractive Love, the Sentinel, while the trendy rhythms of English Eccentrics has its moments. The most extensive score is the Requiem for a Tribe Brother written in response to the death of Williamson's young Aboriginal friend, and was to be Williamson's own funeral Requiem in 2003. It is a grief-laden score with a particularly poignant Pie Jesu for tenor solo and a dark and sombre Benedictus. Even more problematic for the performers than the Symphony and The Joyful Company of Singers cannot hide the intonation challenges Williamson poses throughout the disc. Yet they perform with that obvious affection and dedication for the music that sweep aside such shortcomings. I have not seen the accompanying booklet, but I hope it prints the words, as clarity of diction is not that infallible, despite the excellence of the recording.      

HAYDN:  Symphony No. 18 in G major. Symphony No. 19 in D major. Symphony No. 20 in C major. Symphony No. 21 in A major. Toronto Chamber Orchestra, Kevin Mallon (conductor). Naxos 8.557657. (60' 59").

By the end of the 1750's Haydn had at last found a major employer in Count Morzin, and felt able to start experimenting in the orchestration and format of the symphony. It was during this period that the first three works on this disc were composed, the writing always inventive, though there is a major step forward in the Twenty-first. It marked the availability of an improved orchestra at his disposal with his new employment in the Esterhazy family. The disc continues Toronto Camerata's sector of Naxos's complete recording of the Haydn symphonies, the pungency of period strings apparent in the opening track. Sounding few in number, as appropriate to the music, the violin playing is neat and precise, while the important horns are unfailingly accurate. The acoustic is that of a large empty church, and my preference would be for a more dry sound. Still it is well worth the price asked and is the only single disc to couple these four works.

ELGAR: Violin Sonata in E minor, Op. 82. Romance, Op. 1. Bizarrerie, Op. 13, No. 2. Idyll, Op. 4, No. 1. Pastourelle, Op. 4, No. 2. Virelai, Op. 4, No. 3. La Capricieuse, Op. 17. Mazurka, Op. 10, No. 1. Chanson de nuit, Op. 15, No. 1. Chanson de matin, Op. 15, No. 2. Salut d’amour, Op. 12. Offertoire. Simone Lamsma (violin), Yurie Miura (piano). Naxos 8.557984. (58' 16").

Forming part of Naxos's 'Laureate Series', the multiple competition winner - including the Benjamin Britten and Dutch National prizes - Simone Lamsma offers her credentials in an Elgar programme. Launching into the Violin Sonata with tenacity that drives the music forward and bypasses the wistful introspection British ears find in every nook and cranny of his music. Lamsma takes an equally positive view of the slow movement, escaping from those oft elongated and hushed phrases. The finale is equally purposeful, often happy to take the subordinate role to Yurie Miura's powerful piano, the work's concluding section suitably imposing. The remainder of the disc is given to the composer's miniatures and musical bon-bons. Using a wide vibrato that brings warmth at the appropriate moments, Lamsma reminds us that the young Elgar was much impressed by Germanic music. Where we expect a silvery tone, Lamsma is round and burnished, adding a serious note to some of the composer's more frivolous moments. There is no lack of sparkling virtuosity in the few moments Elgar offers, while removing many of those performing traditions that have become part of the music. 

FUCHS: Sixteen Fantasy Etudes. Sonata Pastorale for Unaccompanied Viola.

Fifteen Characteristic Studies for Viola. Twelve Caprices for Viola. Jeanne Mallow (viola). Naxos 8.557932-33 (2CDs). (113' 00").

Lillian Fuchs, the sister of the famous violinist, Joseph, became one of the most celebrated American violists in the mid-part of the 20th century, moving increasingly to teaching and composing from the 1950's. Most of her works included the viola and was centred on instrumental and chamber music, the large number of viola studies intended to move students away from violin adaptations. The 12 Caprices is the earliest from 1950 and concludes with the 15 Characteristic Studies of 1965. They were mainly intended for advanced students and provide a severe test of dexterity and intonation, the melodic content not particularly arresting for the listener, but sufficient to encourage the performer to think of them as more than mere exercises. In content they remind you of the viola equivalent of Paganini, the music purely tonal and belonging in mood to the end of the 19th century. Jeanne Mallow does not try to hide the problems the pieces present, though passing moments of edgy intonation in difficult double-stopping passages detracting little from a supreme exhibition of technical mastery. Mallow is the granddaughter of Lillian Fuchs and from both sides of her family she comes in descent of eminent musicians. Like her grandmother she started life as a violinist, but has made her reputation playing the viola. It is always dangerous to afford an inner knowledge through parentage, but here at least you feel the affection for the works being performed. Maybe the discs will be most attractive to violists who will have a benchmark to which they can aspire, the sound quality being all you could wish for.   

SIBELIUS: Pelleas and Melisande - Incidental music, Op. 46. DESBRIERE: Sinfonia. Sinfonia Finlandia, Patrick Gallois (conductor). Naxos 8.557985. (50' 12").

Though the coupling is distinctly odd, I am sorry this comes in the Naxos 'Limited Edition' series as it offers one of the best Sibelius performances in the CD catalogue and it may not be easy to find. It is a work that has enjoyed a long and happy history on disc, the old Beecham release still held in much affection, while Gallois' approach is more chilled, the death of Melisande heavily burdened with sadness. The sheer clarity of the Sinfonia's playing, meticulous internal balance and flawless intonation is married to a fresh and spontaneous approach that sends new fresh air through the whole score. Creating the link with the French composer, Jacques Desbriere, comes from a commission to produce a new work for this orchestra and conductor, its first performance coming in 2005. Born in 1925, Desbriere follows a tonal tradition, the lengthy and dramatic opening movement giving way to a 'Dumka' that started out as a Piano Nocturne in 1989. It is far from the Czech idea of the title, but the movement relaxes the work before the short finale. In total it is a pleasing uncomplicated score well worth hearing. Sound quality is all you could ask for.

PING: Shuo Shu Ren. Distant Voices. Cello Sonata No. 2. Evening in Suburban Moscow. Katyusha. Ensemble Pyramide. Naxos 8.557678. (68' 41").

I have never come across the composer Gao Ping before, and all I can tell you appears in Naxos's overly brief programme note that informs us the composer/pianist is in demand by many august performing groups, his music heard in Europe, Asia, Russia, and across the Americas. Composer-in-residence at the MacDowell Artist Colony in New Hampshire for some years, he is composition lecturer in the School of Music at Canterbury University in Christchurch, New Zealand. Pity it is so scanty as there is much to enjoy on a disc where you never quite know if you are in a world of tonality or atonality. It is often seemingly French influenced in the Messiaen-like opening to Distant Voices and second movement of the cello sonata. Indeed the Cello Sonata, with its long opening monologue to the first and fifth movements is unusual in the importance given to the piano. The cello also has a solo role in Shuo Shu Ren scored for strings and woodwind, the writing throughout often calling for a high degree of technical accomplishment. I cannot say I enjoyed the last two tracks Evening in the Suburban Moscow and Katyusha. I suppose the rustic singing is intentional, but neither piece enhances Ping as a composer, so turn to the lively and pleasing opening track for a more representative taste of his achievements. Ensemble Pyramide are obviously an accomplished group of performers, and as the release is in Naxos's new 'Limited Edition' series you might need to look to your Internet provider.

LE ROUX: Pieces de clavessin in D minor; D major; A minor; A major; F major; F sharp minor; G minor; Gigue in G major for 2 harpsichords. Naoko Akutagawa, Glen Wilson (harpischords).  Naxos 8.557884. (77' 28").

Even in 17th century France the tax man was after the wealthy, which is fortunate in the case of Gaspard Le Roux, as it is only through their records that we appreciate how successful he was. Harpsichordist and maybe organist we know precious little of his life, not even his date of birth or death. Almost all we have is this book of pieces published in 1705 - maybe after his death - which exist as solo pieces or as an instrumental trio. As they have no dedication we can only presume he was not in service, but was a journeyman performing musician who was able to make a living in that role. Maybe the works were composed as a series of short pieces brought together by the publisher in the form of suites. Whatever their origin they show a complete mastery of composition that would place him in the league of Couperin, though he never quite achieved the same memorable thematic material. The heading would be too complex to detail the input of the two soloists, suffice it to say that the playing is nimble, neat and in good character with the period, the instruments well related to the French tonal quality. The recorded quality is first class, the release coming in Naxos's 'Limited Edition'.

WOLPE: String Quartet No.1. Piece for Violin. Flute Trio. Piece for oboe, cello, percussion and piano. The Group for Contemporary Music (Curtis Macomber (violin), Theodore Arm (violin), Toby Appel (viola), Fred Sherry (cello), Harvey Sollberger (flute) Charles Wuorinen (piano), Stephen Taylor (oboe), Daniel Kennedy (percussion), Aleck Karis (piano), Harvey Sollberger (conductor). Naxos 8.559262. (61' 50").

Stefan Wolpe was born in Germany in 1902, but spent much of his later creative life in the United States where he was seen as one of the progressive composers working with an unswerving allegiance to pure atonality. Politics and his devout belief in Socialism during his younger years found him working largely as a performing musician. Later he studied orchestration with Webern in Vienna, at which time he embraced the dictates of the Second Viennese School of composers. A chequered career eventually took him across the Atlantic and to a number of high profile teaching posts in the United States. It was at this time that he became disenchanted with conventional serialism and began to take a free and personalised look at atonality. The works on this disc come from the period 1954 through to the mid-1960's and the sad onset of Parkinson's disease. They are not works that fall easily on the ear, and I would suggest an inroad into Wolpe's world at track 3, the Piece for Violin where some melodic shape is ready to be grasped. Or maybe the multicoloured percussion contribution to the final piece will prove attractive. The Group for Contemporary Music has become the guarantee for excellence in this field of music, and I am happy to accept these performances of exceedingly complex music. The disc comes in Naxos's 'Limited Edition' series, and is largely intended for the American market. So you might have to look towards a US sales point.

MOZART: Cosi fan tutte. Elisabeth Schwarzkopf (Fiordiligi), Nan Merriman (Dorabella), Lisa Otto (Despina), Leopold Simoneau (Ferrando), Rolando Panerai (Guglelmo), Sesto Bruscantini (Don Alfonso), Philharmonia Chorus and Orchestra, Herbert von Karajan (conductor). Naxos Historical 8.111232-34. (3CDs). (200' 47").

The expected deluge of releases to mark Mozart's 250th anniversary never arrived, so the reissue of a Cosi fan futte dream-team assembled in 1954 is something really worth celebrating. It came in the early days of LP when engineers were still experimenting, so you have to forgive them messing about with the internal orchestral balance in Karajan's sprightly account of the overture. From therein the sound and balance is all you could wish for, the transfer here of exemplary quality, with voices captured in a nice mellow quality that we often miss in today's recordings. Nan Merriman's fast vibrato is well suited to Dorabella, Schwarzkopf sounding a little older in characterisation, with the two voices blending in duets in exquisite quality. If at times you feel we have strayed into Richard Strauss, I cannot but say the result is still captivating as voices float on air. Just sample track 17 on the first disc, Soave sia il vento, to experience pure vocal beauty. Surely Farrando has never been sung with such lyric elegance, and if Leopold Simoneau's partner in crime, Rolando Panerai, sounds rather mature for the young lover, the male trio is very good. Just one slight snag is Lisa Otto's 'funny' voice in her role as the scheming maid, which after a time becomes tiresome. The Philharmonia was in superb form, recitatives given discrete harpsichord accompaniment. At this low price you would be foolish not to buy. After such joys I hardly wanted Naxos's bonus of extra tracks taken from other recordings.

HOLST: The Planets, Op. 32. Marching Song, Op. 22 No.2. VAUGHAN WILLIAMS: Symphony No. 4 in F minor. London Symphony Orchestra, Gustav Holst (conductor), BBC Symphony Orchestra, Ralph Vaughan Williams (conductor). Naxos Historical 8.111048. (75' 42").

Two very important recordings in the history of British music linked by the presence of the composer conducting his own music. They were revolutionary scores in their use of the orchestra, The Planets obviously taking the London Symphony far past their comfort zone in 1927 as they battle to keep with the composer's fast tempi. Of course there are always those who point to the fact that tempos were often geared to the short length of a disc side at that time. Contemporary reports would, however, substantiate that Holst did not hang about in his approach to the score, particularly in those big juicy melodies that today's conductors linger over. Apart from that there is not a great deal more we can learn, the playing often so ragged and the recording so basic that inner detail does not exist. The Vaughan Williams I have long treasured on an LP issued by World Record Club, that transfer was raw in quality and no match for the refined quality of this new release, though somehow it was appropriate in capturing the cruelty that invades the score. Unlike the LSO, the BBC Symphony a decade later were well able to cope with most of the symphony's technical demands, the opening of the work hitting hard, with pungent brass, and only in the third movement do we have some quirky intonation. In total the performance set the benchmark, the hectic pace of the finale quite superb, and though we have modern recordings that capture the sheer violence, this is still the account you have to hear. 

SCHUMANN: Aufschwung, from Fantasiestucke, Opus 12, No.2 (Ania Dorfmann). LISZT: Theme and Variations (Etude No.6) from Grandes Etudes de Paganini (Marie Anne Warrot). GARRETA: Sardana (Blanche Selva). WEBER: Rondo from Sonata No.1 in C major, Opus 24 (Ginette Doyen). DOHNANYI: Rhapsody No.3 in C major, Opus 11 (Johanne Amile Stockmarr). LECUONA: Malaguena from Andalucia (Suite Espagnol) (Olga Samaroff). IBERT: Le petit ane blanc (The Little White Donkey) from Histoires (France Marguerite Ellegaard). GOOSSENS: The Hurdy-Gurdy Man, from Kaleidoscope, Opus 18, No.3 (Claudette Sorel). RACHMANINOV: Barcarolle in G minor, Opus 10, No.3 (Madeleine de Valmalete). SCRIABIN: Etude in D flat major, Opus 8, No.10 (Muriel Kerr). VOGRICH: Staccato-Caprice (Yolanda Mero). COUPERIN: Le Tic-Toc-Choc ou Les Maillotins (Kathleen Long). HUMMEL: Rondo in E flat major, Opus 11 (Lubka Kolessa). BACH: Prelude and Fugue No.36 in F minor, from The Well-Tempered Clavier, Book 2 (Elsie Hall). LISZT: Paraphrase on Verdi's Rigoletto (Raie da Costa). WAGNER (arr.Liszt): Spinning Song, from The Flying Dutchman (Galina Weschenska). CHOPIN: Fantaisie-Impromptu in C sharp minor, Opus 66 (Irene Scharrer). VILLA-LOBOS: Alma Brasileira (Ellen Ballon). BARTOK: Six Rumanian Folk Dances (Lili Kraus). GOULD: Boogie Woogie Etude (Leah Effenbach). Naxos Historical 8.111121. (75' 04").

Though many women pianists recorded in the first half of the 20th century, the male orientated world of classical music side-stepped their presence. Yet, as the exemplary booklet that accompanies this second volume of 'Women at the Piano' sets out, a large number of females were studying the instrument to the highest level. The standard achieved is here documented in playing that is technical superb, particularly at a time when editing was not possible. I suppose the downside for women in the studio was the fact that they had to be satisfied in recording short and popular pieces while it was the male domain who where responsible for recording major works. So it is a disc of relatively pretty pieces, often fast, frequently frivolous, and - as women were viewed at the time - largely decorative. I have shown the pianist involved with each piece in the heading, but space prevents detailed comments, the booklet containing copious comment on the pianists involved.  Suffice it to say that Ginette Doyen's account of Weber's Rondo and Marie Anne Warrot's Liszt is superb, and it is only when we come to Couperin and Bach that changing styles makes the performances sound distinctly quaint. The recordings date from 1926 to 1950, but the transfer team has so equalled out the volume and general ambience that we move seamlessly from track to track. It still baffles me how Naxos do it, but with the odd exception I could well have been listening to a reasonably good recent release. A novelty issue I have to admit, and I didn't think the Gould piece belongs here, but one I have much enjoyed.

COTTRAU: Addio a Napoli (Mario del Monaco). TOSTI: Aprile (Beniamino Gigli). ARONA: La campana di San Giusto (Tito chipa). ALVO: Dicitencello vuje (Giuseppe di Stefano). DE CURTIS: Tu, ca nun chiagne! (Alessandro Valente). SADERO: Fa la nana, bambin' (Tito Schipa). DI CAPUA: I'te vurria vas! (Giuseppe di Stefano). BUZZI-PECCIA: Lolita (Armand Tokatyan). TOSTI: Malia (Tito Schipa). D'ANZI: Malinconia d'amore (Mario Del Monaco). ROTOLI: Mia sposa sar la mia bandiera (Aureliano Pertile). COSTA: Napulitanata (Uocchie de suonno) (Tito Schipa). TAGLIAFERRI: Nun me sceta (Joseph Schmidt). DONAUDY: O bei nidi d'amore (Beniamino Gigli). TAGLIAFERRI: Piscatore E Pusilleco (Joseph Schmidt). CURTIS: Senza nisciuno (Tito Schipa). GAMBARDELLA: Serenata a Surriento (Tito Schipa). MASCAGNI: Stornelli marini (Beniamino Gigli). NARDELLA: Surdate (Tito Schipa). DE CRESCENZO: Tarantella sincera (Joseph Schmidt). TRAD (arr. MAY-NEUBACH): Tiritomba (Joseph Schmidt). DENZA: Vieni (Aureliano Pertile). Naxos Historical 8.110773. (75' 47").

The second volume in the Naxos series 'Italian Popular Songs' moves away from the conventional popular Neapolitan style to something more substantial. To make for easy understanding I have included the name of the singer with each piece. Musically it is a rather mixed bag and equally mixed in performance, yet as a whole it proves a pleasant diversion for a nice warm sunny afternoon when we can dream of being serenaded. It starts in resolute style with Mario del Monaco in Addio a Napoli as a foil for Gigli crooning his way through Aprile. Tito Schipa's tracks, together with those from Di Stefano, move to a higher level of achievement, their singing refined and making artistic worth out of easy-going music. The recordings vary in quality, with Aureliano Pertile's tracks now sounding their venerable age, but by and large the sound is more than acceptable.