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STRAVINSKY: The Firebird. Petrushka. Philharmonia Orchestra, Robert Craft (conductor). Naxos 8.557500. (78' 51").

For many years Robert Craft was Stravinsky's confidant, helping in the preparation of the composer's concert and recorded performances, and contributing to CBS's extensive recording of Stravinsky's music. Now Craft has revisited these works in modern sound and in the company of the Philharmonia. Of course such relationships do not guarantee 'authenticity', particularly as we find that the composer's view of his music changed over the years, but there is mileage in thinking that they may well represent Stravinsky's latter thoughts. Craft takes that one stage further by reinstating the composer's original orchestration of the Firebird, and while there is nothing revelatory, it is good to have this world premiere recording. The surprising aspect of Craft's view of these two famous ballets is the subtle colours and restraint he displays throughout. Even in the Infernal Dance of Kastchei, one of the Firebird's dramatic moments, he integrates the dance rather than presenting it as an orchestral showpiece. The percussion department is never given undue prominence to heighten tension or to add cheap thrills, and Petrushka's tormentors are kept within the bounds of their puppet status. The result is different and illuminating, the Philharmonia's woodwind being the main beneficiaries, their role never swamped. Of course you may have the old Mercury disc of the Firebird with Dorati and the London Symphony and would quite rightly never be swayed away from it. But in this very generously filled disc you have two ballets in the most modern and detailed sound and offered at super-budget price. There is also a surround-sound version that I have not yet heard on 6.110081.

ELGAR: Pomp and Circumstance Marches, Op.39, Nos. 1 - 5. Coronation March, Op.65. Grania and Diarmid - Funeral March. Caractacus - March. Crown of India -March of the Moguls. Empire March. Polonia, Op.76. New Zealand Symphony Orchestra, James Judd (conductor). Naxos 8.557273. (79' 14").

The catalogue needed a good modern version of the complete Pomp and Circumstance Marches, and James Judd with his New Zealand orchestra have admirably filled the gap. I don’t know if he has been listening to the composer's own recordings, his tempos almost the same, and by modern standards quite hard driven. They do throw down a gauntlet to the orchestra, for at these speeds the marches have some fiendish moments, the violin part often requiring dextrous fingers, while the heavy brass need to be unusually nimble. The central sections open out to a more spacious pulse, just slow enough for the flag-waving English to sing 'Land of Hope and Glory' in the first march. The remainder of the disc is filled with some of the composer's lesser know pieces taken from the incidental music to Yates' play Grania and Diarmid and the masque Crown of India. Of all the Elgar marches, the one from the oratorio, Caractacus, is the real gem, the disc ending not with a march - as such - Polonia being described by the composer as a 'symphonic prelude'. This seldom heard is a most imposing and extended score lasting almost fifteen minutes. Throughout the playing would challenge the best UK orchestras in this repertoire, and the sound engineers have created admirable impact, though I wish they had balanced the bass drum with more tight presence. Most strongly recommended.

CHAUSSON: Poeme de l'amour et de la mer, Op.19. DUKAS: La Peri. BERLIOZ
Les Nuits d'ete, Op.7. Elsa Maurus (soprano), Orchestra National de Lille, Jean-Claude Casadesus (conductor). Naxos 8.557274. (73' 19").

Naxos have recently been expanding their rather slim catalogue of French music, the fine orchestra in Lille bringing a national authenticity to a number of releases. Here we have two major vocal works surrounding the subtlest eroticism in Dukas's ballet, La Peri. Listening to this exquisite score, the effects lovingly realised by Casadesus, you wonder what beauty we have missed in the many scores that Dukas destroyed. The muted horns that open the main ballet cast a spell, and though primary colours invade the work later, it is the soft hues that characterise the ballet. Love and longing also provide the theme for much of the Chausson and Berlioz scores, with many moments of sombre reflection. It is in these that I most admire Elsa Maurus. La mort de l'amour, the last section of the Chausson, is so perfectly handled, the dark lower end to her range ideal for the mood. The same comment equally applies to Berlioz's Absence, the fourth of Les Nuits d'ete. It certainly is a well-focused voice, generally true of intonation, technically secure and perfectly projected. Casadesus supports rather than initiates in his shaping of phrases and tempos, the orchestral playing being most agreeable. Sound quality is also good, but you do have to change volume levels between La Peri and the surrounding tracks.

BRITTEN: Folk Song Arrangements. Felicity Lott (soprano), Philip Langridge (tenor), Graham Johnson (piano), Carlos Bonell (guitar), Christopher van Kampen (cello). Naxos 8.557220-21 (2CDs). (132' 33").

For anyone interested in folk songs these two discs have to be a fundamental part of their collection. They appeared all too briefly on the ill-fated Collins label, and now thankfully reinstated by Naxos. It is the first volume with the promise of another to follow. The present one contains the first 5 volumes which cover British folksong (3 volumes), Irish and French and a number of songs unpublished in his lifetime. If you doubt my word that they contain some of the most exquisite singing placed on disc, just try track 10 on the first of these two discs - Philip Langridge singing I wander as I wander and you cannot fail to agree. Langridge were born to sing this music, with that distinctive timbre restricted to British singers, his diction impeccable as he moves from the sublime to the most ridiculous texts, the Foggy, Foggy Dew having that wonderfully understated naughtiness. Joining Langridge in two duets, Soldier, won't you marry me and The Deaf Woman's Courtship, on the first disc, Felicity Lott has a greater share of the second disc, her affinity with French song valuable in the eight folksong settings. The great joy is Benjamin Britten's writing for the piano, at times just underline the words, and at others adding a mood that only Britten could conjure up. Graham Johnson is incomparable, his delicacy and clarity is matched by the mischievous sense of fun that so often occurs in the songs. For the Sixth volume - the third of British song - Carlos Bonell offers a gentle guitar backdrop, with Christopher van Kampen joining Johnson in an unidentified song found after Britten's death in an arrangement for piano and cello. The only sadness is that the part of the original Collins issue covering the 'Eight Folk Songs' has been omitted, maybe they will appear later. Sound quality could not be improved upon.

BRIDGE: String Quartets Nos. 2 & 4. Phantasy Quartet in F sharp minor. Martin Roscoe (piano), Maggini Quartet. Naxos 8.557283. (59' 30").

Frank Bridge remains the most scandalously neglected British composer of the 20th century, and though we can hear his music on disc, concert performances are still a rare event. Born in 1879, at a most awkward time, as many other composers of that era were to discover, his early scores were stylistically dated and out of fashion by the time of his death in 1941. Yet music that emanated from him in the first two decades on the 20th century were masterpieces of the late-Romantic era, a fact made abundantly clear in the Phantasy Quartet for piano, violin, viola and cello. Dating from 1910, it is a conversation piece between instruments, sometimes chattering, sometimes on long elegant phrases. Five years later the Second String Quartet is in much the same pleasing style, its intense outer movements surrounding a central Allegro vivo of playful vivacity, the appearance of a fragmented melody eventually becoming the beautiful central section. In the twenty-two years that were to pass before the Fourth was completed, Bridge had embraced his own version of serialism, though he could not break away from his own harmonic language. The tough speaking in the first movement is somewhat smoothed in the central Quasi Minuetto, and as if in a statement, "well I tried it", the work changes to close in pure tonality. Even though I am becoming repetitive, the Maggini Quartet now stand in a league all of their own in the performance of British music. Technically everything is in place, with inner detail so clear, Martin Outram's viola being a constant joy. They are joined by one of the UK's best-known pianists, Martin Roscoe, his playing ideally lightweight. Add excellent sound quality, and you have an absolute winner.

GLUCK: Orphee et Euridice. Jean-Paul Fouchecourt (Orpheus), Catherine Dubosc (Euridice), Suzie LeBlanc (Amore), Opera Lafayette, Ryan Brown (conductor). Naxos 8.660185-86 (2CDs). (85' 39").

Gluck composed Orfeo ed Euridice in time for Emperor Franz's name day in 1762, the first performance taking place at Vienna's Burgtheatre. In the years that followed the opera travelled through Europe, often performed with additions to enlarge it so as to occupy a full evening. In 1774 Gluck was persuaded to formally expand the score for a performance in Paris, and to a French text. There were several amendments made to the actual story which have been thought to compromise Gluck's original concept, but the major change was to the voice used for Orpheus, the original version calling for a castrato now changed to a high tenor. Since then there have been 'modernised' versions, the one most frequently performed coming from Berlioz in 1859, his version based on the 1762 version with the role of Orpheus given to a female contralto. For this new release Naxos has used the 1774 Paris version, exploring the vocal resources of Jean-Paul Fouchecourt. He proves to be an elegant singer who phrases the music with admirable sensitivity and dexterity, though truth to tell Gluck did not often send the tenor on high. Dubosc is a pert Euridice, and I am much attracted by the young sounding Suzie LeBlanc as a charming Amore. The orchestra - which appears to be using period instruments - and a virile chorus, are both enjoyable. With moments of orchestral intonation that would have been patched in the studio, I presume the discs come from a 'live' performance. The recorded balance is well handled, and in an uncrowded market, an attractive purchase.

BACH: Mass in B minor. Sunhae Im (soprano), Marianne Beate Kielland, Ann Hallenberg (mezzos), Markus Schafer (tenor), Hanno Muller-Brachmann (bass-baritone), Dresden Chamber Choir, Cologne Chamber Orchestra. Helmut Muller-Bruhl (conductor). Naxos 8.557448-49 (2CDs). (108' 16").

The advent of surround-sound has tempted Naxos to update their catalogue, superseding an agreeable recording that dates back a decade or more. This continues where Muller-Bruhl's 'Bach Orchestral Edition' left off, his performances level headed and without any of the modern beliefs of having discovering period authenticity. The violin solos have the pungency that suggests a gut-strung instrument, and the trumpets proclaim baroque brilliance, though elsewhere the orchestra appears to be playing on 'modern' instruments. I suspect it is more slanted towards 'period' than the recording reveals. Tempos have that feel of unhurried pulse, though on closer inspection they are pushed along more speedily than most on disc. While none of the singers would be selected for special comment, they are a most likeable team with excellent diction and faithful intonation. Duets are admirably blended, with female voices particularly beautiful in the Credo, though I have heard more lovingly phrased accounts of the Agnus Dei. Bach's written requirements for a Leipzig performance of 1730 do exist, and he instructs that the performers be few in number. The Dresden choir is probably slightly larger, their female tone at times swamping the male counterparts. The orchestral playing is admirable, with solo passages, such as the horns in the Quoniom, as good as they come. The recorded sound recreates a good concert hall balance with an ideal front to back perspective, the organ always positive yet well integrated. There are many ways to perform the work, the present one having that comforting feeling of a visit from an old friend.

GUARNIERI: Piano Concertos Nos. 1, 2 & 3. Max Barros (piano), Warsaw Philharmonic Orchestra, Thomas Conlin (conductor). Naxos 8.557666. (68' 47").

Camargo Guarnieri could have enjoyed a major career either as a concert pianist or conductor, in both of which he enjoyed success at differing parts of his life. He chose composing eventually regarded as the most outstanding Brazilian after Villa Lobos. Born of Sicilian immigrants in 1907, his early aptitude for music took him to the leading Brazilian teachers of his day, eventually moving to Europe to study composition under Koechlin. Competition successes and various artistic awards in South America cemented a place of high respect, and though there was a brief time when he questioned his achievements, he became prolific in his output in most genres, his solo piano music particularly popular in South America. His orchestral scores were also large in number, and though he did briefly embrace the musical ideals of the Second Viennese School, his works were generally an extension of the late-Romantic period, the scoring colourful and effusive. The three concertos had large gaps between their composition; the earliest dating from 1931 when he was 24 and was piano teacher at the Sao Polo Conservatory. It is big and bold, with a massive virtuoso part for the soloist, the orchestra in blatant primary colours, jazz mixed with a feel of French influences. Fifteen years later and the Second concerto showed little difference in style, the pianist covering a deluge of notes. Try the driving rhythms of the final Vivo as a good and representative sampling point (Track 6). We go more than a further decade to the Third, and though there is a feel of modernity, it is really more of the same. So if you like Poulenc - for instance - snap up the disc, the performances, which appear the only ones available, are riveting. Max Barros is quite sensational, with the Warsaw Philharmonic having that feel to total familiarity, the string section surely one of the finest in the world.

KOEHNE: Elevator Music. Inflight Entertainment. Unchained Melody. Powerhouse. Diana Doherty (oboe), Sydney Symphony Orchestra, Takuo Yuasa (conductor). Naxos 8.555847. (57' 57").

Released in Australia last October, the world can now fasten their seatbelts, brace themselves, and prepare for lift-off with Graeme Koehne's rhythmic Elevator Music. The tremendous verve that we enjoy in Bernstein's West Side Story dances are here mixed with the minimalism world of John Adams, and heavily laced with those tunes that pile-drive into your memory. Born in Australia in 1956, Koehne has established himself as one of the most listener-friendly composers of the 20th century, this release typical of his output. Inflight Entertainment is a three-movement oboe concerto of excruciating difficulty, and calls upon the soloist to perform every facet of the instrument. Bending notes, sliding, over-blown, mind-boggling dexterity, and a cadenza in the first movement that would give most oboists a nervous breakdown. Diana Doherty performs all of this with an apparent ease that is truly remarkable, and adds a silky smooth slow movement taking us precious close to crossover music. Unchained Melody is certainly unchained rhythmically as it darts through so many permutations as to make you forget there is not a great deal of substance. Allowing the percussion to hammer everything in sight, eleven minutes of Powerhouse ends this sound spectacular from the Sydney orchestra. Recording quality to match.

STILL: In Memorium. Africa. Symphony No. 1, 'Afro-American'. Fort Smith Symphony Orchestra, John Jeter (conductor). Naxos 8.559174. (60' 07").

Have you never heard of William Grant Still? Well take a look at this disc's low price give it a try, and you won't be disappointed. The composer broke the white domination in all fields of classical music, becoming the first black person to have a symphony played by a major American orchestra; the first to conduct the major league orchestras and the first to have an opera professionally performed. In the later part of his life he concentrated on a large output of new works, and though he experimented with the latest form of composition, his best-known works belonged to an era that had long past by the time they were composed. Sadly the music establishment quickly ignores those who commit that heinous crime. He remained wedded to tonal music, his sure sense of orchestration providing colourful and easily accessible scores. Maybe the emotive titles typecast him, though there is precious little ethnic input in the three-movement suite, Africa, composed in 1928, or the symphony dating from 1930, both simply being extremely pleasing orchestral works. Indeed it takes a few moments of jazz and blues, and quotes from some popular composers of the time to point out that he was a North American composer. The Fort Smith Symphony from Arkansas is here making its first international release, and performs with great distinction, the warm and fulsome strings backed by woodwind and brass that are first class. Jeter is equally new to me, and his shaping of the music is very convincing. Though lighter in weight, this is just as enjoyable as the Detroit Symphony's recording of the 'Afro-American' Symphony with Jervi conducting. Very good sound quality.

ESCUDERO: Illeta. Ricardo Salaberria (baritone), Coral Andra Mari, Bilbao Symphony Orchestra, Juan Jose Mena (conductor). Naxos 8.557629. (59' 01").

Francisco Escudero is numbered among Spain's leading 20th century composers, having studied in Madrid and later in Paris, with Dukas and Wolff numbered among his mentors. On his return to Spain he joined the staff at the San Sebastian Conservatory, later becoming its Principal. He did pass through an experimental period, but has largely remained a tonal composer with a strong link to the Spanish nationalist school originated by Falla. Dating from 1951, when Escudero was 38, Illita depicts the grief experienced by the death of a loved one. In five extensive sections, with Dukas hovering in the background of the harmonic writing, the work's gestures are big and assertive, the dynamic range quite extended. The extensive opening Gaubela requires some powerful singing, the Coral Andra Mari performing with such security and vigour. Just one soloist is used, Ricardo Salaberria having that heroic quality for the second movement. The storm that erupts in the third movement is enormous, and as the mood becomes less agitated, the work ends quite abruptly in a peace. I am not going to pretend this is a great and neglected masterwork, but it has many unusual and highly impressive moments, and falls so readily on the ear as to make a favourable impression. I have admired the Bilbao Symphony in previous Naxos releases, and again they impress as a world class ensemble in every department. The recording quality is all one could hope for.

OHZAWA: Piano Concerto No.3, 'Kamikaze'. Symphony No. 3, 'Symphony of the founding of Japan'. Ekaterina Saranceva (piano), Russian Philharmonic Orchestra, Dmitry Yablonsky (conductor). Naxos 8.557416. (64' 08").

I had never heard of Hisato Ohzawa, let alone a note of his music, and with the disc arriving without any details, I decided that the time was opportune to indulge in an 'innocent ear' review. The Piano Concerto is cast in a red-blooded post-Romantic style, with so many influences taking part, not least mainstream American music of the 20th century, with a smattering of Poulenc. The central Andante is a movement of considerable beauty, with jazzy rhythms effectively introduced into the finale. The orchestral backdrop makes a major contribution, though like Rachmaninov, our attention is with the proactive piano part. The Third Symphony is more of the same, Ohzawa's melodic invention coming in short bursts, rather than extended passages, each idea interwoven to produce the opening Allegretto, the general feel being one of music that smoulders, but resisting a final evolution into flame. The Adagio contains an idea that could have come from a British light music composer; the following Moderato having delicacy before moving to a finale of vitality. Ohzawa's name and idiom would indicate a Japanese composer, educated and working in Western Europe, the music from the period 1935 to 1940. Now dear reader, I honestly promise you that I knew nothing if Ohzawa, though almost everything above is true. He was born in 1907, having come from wealthy parents, and moved to study in America in 1930 with their leading composers, four years later completing his studies in Paris with Nadia Boulenger. The two works were composed in 1938 and 1937 respectively, the Piano Concerto to mark the fastest flight from Tokyo to London in an aeroplane made by the Kamikaze company. Sadly the success he had enjoyed in Europe was not transferred to Japan where orchestras found his music too difficult. He died quite suddenly in 1953, having put into being a drive towards higher orchestral standards in post-war Japan. The Russian performances have the assurance that would suggest the musicians play the works regularly, Ekaterina Saranceva's piano playing mixing virtuosity with a nice sense of repose. In sum a disc that is easy to enjoy and well recommended.

VANHAL: Sinfonias in D major; C minor; A flat major and G major. Toronto Camerata, Kevin Mallon (conductor). Naxos 8.557483. (69' 17").

Undaunted by a composer whose output exceeded seventy Sinfonias, Naxos (who describing them as Symphonies) have now produced the third volume in a survey of Johann Baptist Vanhal's output. He was born in 1739 to a Czech peasant family, receiving an early training from a local musician that enabled him to earn a living as a village organist and choirmaster. A wealthy patron, who heard him play the violin, arranged for composition lessons in Vienna with the great Dittersdorf, and further patronage enabled him to travel and to move in exalted musical circles. He was probably the first musician to earn a living entirely from composing without any other appointment, and in addition to his symphonies, his catalogue contains 100 quartets, 95 sacred works, and countless instrumental and vocal works. Such was his fame that within a few years of his symphonies being written, they were being performed around the world, and as far distant as North America. That connection provides a link with these very amiable performances from Toronto, the Camerata's playing being technically assured, and with suitable dexterity in the violins. In truth I find the music entertaining, its flowing melodies always attractive in the outer movements, with lyric slow movements of particular beauty, but I would stop short of describing him as a composer comparable with the young Haydn or Mozart. The recording has been made in a generous acoustic.

POULENC: Flute Sonata. MESSIAEN: Le merle noir. SANCAN: Flute Sonata. JOLIVET: Chant de Linos. DUTILLEUX: Flute Sonatine. BOULEZ: Flute Sonatine. Patrick Gallois (flute), Lydia Wong (piano). Naxos 8.557328. (59' 33").

Without wishing to diminish the desirability of Patrick Gallois's Naxos recording of Mozart's Flute Concertos, he seems even more at home with this anthology of 20th century French flute music. Employing a wide vibrato that has always characterised Gallic flautists, he removes a layer of sentimentality from Poulenc's creamy sonata, standing back a little from over-involvement in the music, and taking it very much at face value. I think that view will still prove pleasing when others have passed their 'sell by date'. Lydia Wong could have handled the accelerando with more subtlety in the second movement, but elsewhere in the disc, the piano accompaniment is well balanced, and when necessary becomes a potent ingredient. Exploring muted colours in the Messiaen and Sancan, Jolivet's Chant de Linos bursts on the scene with an outrageous display of virtuosity, Gallois's brilliant dexterity even surpassing Emmanuel Pahud's outstanding account for EMI. The cool atmosphere of the opening of Dutilleux's Sonatina is elegant, the ending suitably mercurial. However much I try I sadly cannot find anything to like or enjoy in the Boulez, which maybe my loss. Excellently balanced sound.

IVES: The Housatonic at Stocksbridge. Soliloquy, or a Study in 7ths and Other Things. On the Antipodes. The Gong on the Hook and Ladder. Hallowe'en. In Re Con Moto et al. Sunrise. Remembrance. Aeschylus and Sophocles. Five Take-offs. Three Quarter-Tone Pieces. Continuum. Naxos 8.559194. (48' 52").

It was the outlandish part of Charles Ives' output that dragged the musical world to recognise the 20th century music being composed in North America, this release of chamber works proving an ideal sampler for those who still need to discover his music. Born in 1874, the son of a versatile bandmaster, Charles was a gifted young pianist too shy to follow a career on the concert platform. Educated at Yale, he there came into contact, more by luck than judgement, with the compositional pedagogue, Horatio Parker, who encouraged the young man's writing aspirations, despite the fact that he could not comprehend Ives' music. Working for an insurance company gave Ives the financial security to spend a lifetime of composing as a leisure pursuit. His output was stylistically so diverse that you never know what to expect, this disc mixing simple songs with music that could have come from the most experimental composers. He loved the juxtaposition of two totally different 'pieces' played at the same time, as we hear in The Gong on the Hook and Ladder, here played in its chamber version. Most of the items appeared in the 1920's, the mid-part of his life, and if you want to sample the disc try track 5, Hallowe'en, scored for string quartet and piano. Last month I was enthusiastic of Continuum's recordings of music by Cowell, and again I am much taken by the playing of this New York based ensemble. Their musicians and vocalist, Ellen Lang, bring clarity to places where that are usually difficult, the quarter-tone piece for piano as convincing as I have ever heard. Wide range recording, though I found myself often adjusting volume settings between tracks.

WEISS: Lute Sonatas Nos. 7 in C minor; 23 in B flat major, 'Divertimento'; 45 in A major. Roberto Barto (baroque lute). Naxos 8.555722. (74' 39").

Sylvius Leopold Weiss created the most extensive catalogue of lute music attributed to one composer, leaving on his death in 1750 more than six hundred scores. Many were in the form of Sonatas, also described as Suites (or Serenatas), and were originally for his own performance, each containing dance movements - such as the Minuet and Gavotte - the combined work being of substantial length and very varied in mood. Mixing the elegance of his French influences with the brilliant sounds that he had heard and absorbed during his years in Italy, they were intended to extend the technique of the performer. The particular joy of this disc is the B flat major Sonata, a work that contains two gorgeous Bourrees and a spicy Saltarella to close the work. But for a taste of Weiss try the Presto to the A major Sonata (track 6), a movement of great joy. We have now reached volume 6 of this complete cycle played by the American lutist, Robert Barto, and I have been copious in my admiration for his dexterity and clarity, but here the demands do present left hand challenges that creates moments of rhythmic unease. The disc is recorded quite close to the lute, and ideally a little more air around the sound - as in previous volumes - would have been welcome.

CARISSIMI: Historia Di Jephte. Dai piu riposti abissi. Historia Ionae. Consortium Carissimi, Vittorio Zanon (organ/conductor). Naxos 8.557390. (53' 14").

Giacomo Carissimi was obviously one of the most important composers of sacred works in the Italian 17th century, though the loss of almost his entire autograph scores leaves us in doubt as to the true extent of his massive output. He played a major role in the development of the oratorio, though - here again - as we only have much later copies of these works, it is unclear whether he described them as such at the time. His series used texts taken from the Old Testament, including those on the subject of Jephthah and Jonas, the two Historias probably composed as early as the 1640's. Who supplied the librettos is unknown, though Carissimi may well have been mainly responsible. He was an experimentalist, an example being the battle of the winds and waves in Jonas created by an eight-part chorus. Accompaniments were largely in the form of a continuo backdrop, Carissimi at times adding instrumental obligatos to decorate the vocal line. Separating the two works on this disc is the short cantata, Dai piu riposti abissi, scored for three solo voices and three instruments, this seemingly being the only available recording. Vocally the works pose many taxing problems with florid passages that are difficult to handle, a fact the Carissimi Consort cannot hide, and they are happier in the predominantly quiet choral moments. The soloists come from the Consort, Nadia Caristi's soprano being particularly notable in Jephtha. The recording ideally balances the instrumental participation and is of pleasing quality.

GRANADOS: Carezza-Vals. Dolora. Clotilde. La Sirena. Dans le bois. Marcha Real. Soldados de carton. Elvira. Album des melodias, Paris 1888. Douglas Riva (piano). Naxos 8.557142. (69' 58").

With volume 8 of the complete piano works of Enrique Granados, we rather arrive at the shavings from the master craftsman's bench, many of the 30 tracks on the disc lasting little more than a minute. Indeed you would think you have stumbled on some unknown Scott Joplin as the disc opens in a light mood, and if they were not played with such sincerity by the Granados expert, Douglas Riva, many would have little more than passing interest. Described as the most significant composer in 19th century Spain, Granados possessed a gift of melody that never deserted him. The present disc proves the point even in such musical trifles, and there are gems here, such as the charming Andante (track 10) and the Allegro vivace that closes the disc in a mix of Chopin and Schumann. There are few demands on Riva's technique, and he shapes the music - much of it never previously recorded - with affection. The sound quality is not quite in the same league of high excellence as previous releases in the series.

BUXTEHUDE: Toccata in G major, BuxWV 165. La Capricciosa. 32 Variations on the 'Bergamasca', BuxWV 250. Choral Partita 'Auf meinen lieben Gott', BuxWV 179. Praeludium in G major, BuxWV 162. Air with Two Variations in A minor, BuxWV 249. Praeludium in G minor, BuxWV 163. Suite in G minor, BuxWV 241. Canzonetta in G major, BuxWV 171. Glen Wilson (harpsichord). Naxos 8.557413. (55' 17").

Dietrich Buxtehude was one of the most prolific composers of the 17th century, and is generally accepted as the father of the great German organ tradition. Though he was to extend the scope of music for that instrument, his compositions could well have been played on any keyboard instrument. The present disc does cover a number of works specifically written for the harpsichord, such as the 32 Variations, though most of the pieces are normally associated with the one manual organ. In feel they were linked to Buxtehude's life in the service of the Protestant church in Germany, so that moments of a capricious nature are very few. Glen Wilson obviously feels that a disc which takes the music simply at face value could soon outstay its welcome, and employs a very free approach, the opening Toccata, for instance, rhythmically very relaxed. He does possess an excellent technique, the fast variations showing admirable dexterity, with the whole disc providing considerable pleasure. The engineer has gone in close to the instrument to provide today's fashionable impact in harpsichord recordings.

HUMMEL: Grand Sonata in A major for cello and piano, Op.104. HAYDN: Trio in G major for flute, cello and piano, Hob.XV:15. CHOPIN: Cello Sonata in G minor, Op.65. Franz Bartolomey (cello), Monika Guca (flute), Madoka Inui (piano). Naxos 8.557708. (69' 46").

Continuing the Naxos series featuring the principal soloists of the Vienna Philharmonic Orchestra, this issue centres on the highly distinguished cello of Franz Bartolomey, soloist in many highly regarded recordings including Strauss's Don Quixote conducted by Previn on Telarc. He has that outgoing style of playing that has been the hallmark of outstanding cellists in the late 20th century. Technique is more than capable of dealing with the few demands of Hummel and Haydn, though I confess I find the Grand Sonata not particularly 'grand', containing more gesture than substance. Maybe a finale taken with more impetus would have been welcomed. The Trio takes the cello back to its 17th century accompanying role, which gives us plenty of time to enjoy Guca's fine flute playing. So it is Chopin who provides a test of musicality and technical accomplishment, Bartolomey at home in its romantic mood. His opening movement is suitably fulsome, the two musicians well balanced as the thematic material weaves between them, with a liberal attitude taken to the changes of pulse. There has been more mercurial reading of the scherzo, but the Largo draws playing of eloquence, while the finale has sufficient thrust without becoming overheated. Sound quality is enjoyable.

WAGNER: Lohengrin. Wolfgang Windgassen (Lohengrin), Eleanor Steber (Elsa), Josef Greindl (Henry, King of Germany), Hermann Uhde (Friedrich von Telramund), Astrid Varnay (Ortrud), Hans Braun (Herald), Bayreuth Festival Chorus and Orchestra, Joseph Keilberth (conductor). Naxos Historical 8.110308-10 (3CDs). (219' 27").

To our surprise and great joy, three new recordings arrived within the space of 18 months in the early 1950's, marking the first time a complete Lohengrin had been available on disc. The critics were unanimous in placing this performance, taken from the stage of Bayreuth in 1953, as the outstanding version, despite stage noises and variable balance between singers. At the time the admired part of the cast was Windgassen's Lohengrin and Steber's Elsa, probably highlighted by a disappointment in those roles in rival releases. Time and subsequent recordings have brought a reassessment, the performance's great attribute now being seen as the fabulous pairing of Uhde and Varnay, their singing and characterisation never again equalled, let alone surpassed, on disc. The pure venom that comes from Varnay is absolutely chilling, and she is more than matched by the sheer power of Uhde. Just to hear these two great Wagnerians is alone worth far more than the humble price of the release, the beauty of the orchestral playing being an added bonus. Steber remains a most touching Elsa, though Windgassen, for all his artistry, sounds intent on vocally arriving at the end of the evening in one piece. Thankfully he eventually throws caution to the wind in a thrilling proclamation of his lineage. Keilberth's conducting was far more persuasive than has often been portrayed, catching the battle between good and evil by highlighting the orchestral colours when Ortrud is plotting with Friedrich. Certainly his much-criticised slow tempos were pure myth as the speedy overall timing shows. For some reason the Prelude to the Third Act rather leaps out and requires an adjustment of volume, but, as with other releases in the Historical series, Naxos have worked wonders on the original release, making the sound far better than I had expected.

LEHAR: Die Lustige Witwe (The Merry Widow). Erich Kunz (Count Danilo), Elisabeth Schwarzkopf (Hanna Glawari), Nicolai Gedda (Camille), Emmy Loose (Valencienne), Anton Niessner (Baron Mirko Zeta), Otakar Kraus (Cascada), Josef Schmidinger (St. Brioche), Philharmonia Orchestra and Chorus, Otto Ackermann (conductor). Naxos Historical 8.111007. (79' 04").

Though the spoken dialogue was pruned down to its bare essentials in the original release of this 1950's star-studded recording, it is wonderful to have its return squeezed onto one very full disc. It had one very curious casting choice with the baritone, Erich Kunz - already sounding rather 'mature' - as the dashing young Danilo, a part more normally associated with a tenor. It does necessitate much downward transposition just at the point when we expect a heroic quality. It is the price you have to pay for a performance full of life and zest, the partnership of Gedda and Loose really taking over as the two principals. Schwarzkopf does not possess that 'naughty but nice' characterisation of Hanna, seeing the role as a more dignified person who is once again falling in love. As a team the cast work well together in the big set pieces, and have the benefit of the Philharmonia in peak form. With Naxos revitalising the original sound, it makes a highly attractive bargain reissue.

DELIUS: Marche-Caprice. Brigg Fair. North Country Sketches. Over the Hills and Far away. On Hearing the First Cuckoo in Spring. Dance Rhapsody No.1. Royal Philharmonic Orchestra, Sir Thomas Beecham (conductor). Naxos Historical 8.110984. (76' 10").

Today it is difficult to think of a time when Delius's music could well have become forgotten had it not been for the tireless championing of Thomas Beecham. His performances can be viewed as 'Beecham's Delius', the great conductor often taking liberties with the scores, though listening to these recordings made between 1946 and 1952, you are never in doubt of his sincerity. Sadly even his last recordings were not advanced enough to capture the myriad of delicate shades he could create in the concert hall. What is now Delius's most famous piece, On hearing the First Cuckoo in Spring, is played without affectation, and I love the rugged atmosphere he brings to the North Country Sketches. The disc starts splendidly with the delicate Marche-caprice, a piece that takes us to the pictures of toys. The orchestra's woodwind is magical, though the strings at times are rather slender of tone. The Naxos rescue team has performed wonders, though in such fragile music you need the best possible sound. Beecham fans should snap it us at this price.

BEETHOVEN: Violin Sonata No.9 in A major, Op.47, 'Kreutzer'. BRAHMS: Violin Sonata No.3 in D minor, Op. 108. FRANCK: Violin Sonata in A major. Jascha Heifetz (violin), Benno Moiseiwitsch (piano); William Kapell (piano); Artur Rubinstein (piano). Naxos Historical 8.110990. (75' 47").

I seem to be getting knee deep in reissues of Heifetz's Kreutzer sonata, though most have used his 1960 version with Brooks Smith as accompanist. His earlier partnership with Benno Moiseiwitsch was an enigma, as the two had so little in common, though they had made a version in 1949 which Heifetz rejected as it gave too much prominence to the piano. That version had a lot going for it, and sizzled with zest and bubbled with joy in the finale. I suppose the 1951 remake tells us a lot about the ego of Heifetz, as here the balance is totally skewed to the violin, the account hard-driven and lacking the spontaneity of the earlier version. At times he was a very mixed-up character, so much of the Brahms sonata really outstanding, with power and passion matched by passages of magical delicacy. Then suddenly he flies into a passage with a coarse and ungrateful quality that brings you up with a jolt. The Franck is a very different matter, for while Rubinstein seems intent on recording his own view, Heifetz was in mellow mood, despatching the big soaring melodies with a gay abandon. There have been more considered interpretations placed on disc, but this is a rare gem. The Naxos engineers have again performed wonders with the sound, and Heifetz fans should grasp the bargain.

CHERRY: Dear Little Shamrock. VERDI: Rigoletto - Bella figlia dell'amore, Act 3. GOUNOD: Faust - All'erta! All'erta!, Act 5 (2 recordings). BAKER: The Irish Immigrant. CROUCH: Kathleen Mavourneen. MARSHALL: I hear you calling me. TRAD: Believe me if all those endearing young charms. Molly Bawn. She is far from the land. LEHMANN: Ah! Moon of My Delight. OLCOTT AND BALL: Mother Machree. HERBERT: I'm Falling in Love with Someone. BLUMENTHAL: An Evening Song. PARELLI: The Happy Morning Waits. BIZET: Les Pecheurs de Perles - Au fond du temple saint (2 recordings). ROSSINI: Il Barbiere di Siviglia - Numero quindici, Act 1. Soirees musicales - Gli Marinari; Serenata. PONCHIELLI: La Gioconda - O grido di quest'anima, Act 1. John McCormack (tenor), Nellie Melba, Emma Destin (sopranos), Edna Thornton (alto), Mario Sammarco (baritone), Victor Orchestra, New Symphony Orchestra, Landon Ronald, Percy Pitt (conductors). Naxos Historical 8.110329. (78' 39").

Born in Ireland in 1884, John McCormack was at first self-taught, but eventually moved to Italy for vocal training and was soon appearing on the opera stage. Having become a great favourite at London's Covent Garden, he later moved to America and took up citizenship, though it was commercially advantageous to continue the guise of an Irish tenor. It was a pure lyric voice with an intrinsic Irish quality that coloured his operatic recordings, but was put to good use for songs of his homeland. Though he became famous around the world, he brought his operatic career to an end in his mid-thirties, having described himself as a dreadful actor. His recordings of ballads had made him a household name through much of the world, and his career now concentrated on the concert stage. To modern ears they were often of that dreadfully sentimental variety, but he sang them with a pleasing style. The present disc covers recordings made between 1910 and 1911, the gems being the famous duet from Bizet's Pearl Fishers sung in Italian (Del tempio al limitar) with Mario Sammarco, McCormack's ringing tenor riding over the top, and the Ponchielli duet, which gives his true value as a singer. The Naxos transfers have made these ancient discs more than acceptable to modern ears.

STRAUSS: Frau Diavolo Cotillons, Op.41. Marsch nach Motiven der Oper Zampa, o.Op. Alexandra Walzer, Op.56. Polka in E flat major, o.Op. Zampa-Walzer, Op.57. Jager-Polka, o.Op. Mein schonster Tag in Baden Walzer, Op.58. Quadrille aus Anna Bolena, o.Op. Die vier Temperament, Walzer, Op.59. Reise-Galopp, Op. 85. Carnevals-Spende Walzer, Op.60. Slovak Sinfonietta, Zilina, Christian Pollack (conductor). Marco Polo 8.225282. (69' 54").

There have been times when I wondered if an issue covering the complete works of the father of the Strauss dynasty would really stand such detailed scrutiny, then along comes the charm of the Frau Diavolo Cotillons, and all such thoughts evaporate. There was a lull in his output following that piece published in 1830, only reaching opus 60 two years later with Carnevals-Spende Walzer. It was a period of entrenchment, Johann having severed his links with Josef Lanner - who had given him his first conducting engagements - and was now the musical attraction at the Sperl, one of Vienna's most fashionable beer-gardens and dance halls. There was a lack of consistency in his music, though his melodies were becoming increasingly attractive, and in the Alexandra-Walzer we have an early example of the Strauss family crossing the boundary into symphonic waltzes. By contrast the Zampa-Walzer is a very dull affair, that jogs along without anything really interesting to say. The real gem of the release is the picture of changing moods in Die vier Temperamente, the imaginative orchestration its main joy. The disc also contains works unpublished within the attributed opus numbers, and I suspect they are being recorded for the first time, the March on themes from Zampa full of vivacity and a real discovery, though the Polka in E flat could with advantage have remained lost. Strauss would have had an orchestra of around 20 players at the time, the Slovak Sinfonietta sounding of similar proportions, with a small string section suitably lightweight in texture. Christian Pollack guides us through the music with care and affection, though there were a few instances where I felt a tempo a few notches higher would have been welcome. Otherwise a desirable release essential to Strauss family enthusiasts.

CHINESE MUSIC MEETS WESTERN EARS

Each month I will be reviewing two discs from the large catalogue of Chinese music that is available wherever you find Naxos and Marco Polo discs. In the Western world you may have to place an order with your retailer.

LOVE IS LIKE A MYSTERIOUS DREAM: Takako Nishizaki (violin), Nicolaus Esterhazy Sinfonia, Peter Breiner (piano/conductor). Marco Polo 8.223661. (69' 35").

Last month I was enthusing about the Hong Kong megastar violinist, Takako Nishizaki, in a disc of Chinese popular songs given a Western orchestral makeover. In the second volume of the series we move to Chinese inspired popular music of Hong Kong. The orchestrations are the work of the Bratislava-born composer and arranger, Peter Breiner. The opening track Love is Like a Mysterious Dream, is really outstanding. Almost seven minutes in length, it has become in style the central slow movement of a Russian violin concerto written in the first half of the 20th century. That classical mood is carried through to Night Wind, before we arrive in Hollywood for Looking Back. For the remainder of the disc we remain in the States, the orchestral role given that sheen we hear as the backdrop to films in a more sentimental mood. The final track Li Xiang-Lan is a strange fusion of so many influences, Breiner's piano contribution adding that typical British middle-of-the-road atmosphere so enjoyed by the nation's over 60's club. As I remarked in my review of the previous disc, this treatment is now part of Chinese life, and though it is a million light years away from the traditional music discs I normally cover in this column, it forms part of their modern culture. Nishizaki is in her most seductive mode, her tone pure Chinese silk that is coloured with subtlety, while the Hungarian orchestra is in total accord. Very good 1993 sound quality.

CHINESE SONGS AND DANCES: Mongolian; Bai; Maonan; Uzbeks; Dongxiang; Daur; Gaoshan; Miao; Yi; Li; Kawa; Loba; Qiang; Jinuo; Hezhe; Dong; Lahu; Naxi. Shanghi Philharmonic Orchestra, Cao Peng (conductor). Yellow River 82017. (62' 05").

Within China's borders exist at least 56 recognisably different races spread through this enormous multicultural society, each having contributed to the nation's rich musical inheritance. The Han Dynasty gave rise to the bulk of the Chinese nation, now numbering well in excess 1000 million people, with the remaining sectors are known as ethnic minorities. This series of discs sets out to provide the Songs and Dances of those ethnic minorities, the present release containing 18 tracks each devoted to one race. Having read the enclosed booklet I still cannot find the person responsible for orchestrations which appear intended for international consumption. There is a sprinkling of traditional instruments, but essentially it is scored for a symphony orchestra very much to the tastes of Westerners. Dressed in this fashion it is sometimes a case of 'spot the difference' as we go through the disc, though the Arab influences in the Uzbek dance is very different and very charming. Equally distinctive is the slow dance-song from Kawa, inhabitants of the Yunnan province, and it is surprising classical composers have not been attracted to these unusual sounds. As a disc of easy-to-listen-to music, this has a great deal going for it, the Shanghai Philharmonic playing with a nice feel for such lightweight pieces, while the unnamed traditional instrument soloists are highly accomplished. Dating from 1992, the sound quality is very good.