Heinz Holliger, Academy of St.

Although this recording is now at least temporarily out of press it combines the finest oboist of our day, Holliger, with the most sensitive interpreter of Telemann in my experience: Iona Brown with the Orchestra of St. Martin and the Fields. That's particularly important because groups that don't understand or exploit Telemann's sense of musical drama, instrumental color and special effects, and ingenious interactions between orchestra and soloist can reduce a blood-pressure raising work to just baroque music. I expect to offer a more detailed sampler of Telemann recordings and comment in the future. For now let me point out the opening oboe concerto as a unique masterpiece.

The artistry of Holliger (b1939) prompted Evelyn Rothwell (Lady Barbirolli) to call him 'The Paganini of the oboe' Holliger's mastery of the oboe ranges over a vast expanse of repertoire, from the baroque to contemporary – Bach to Berio and Zelenka to Zimmermann. His style is notable for its flexibility, agility, integrity and ability to communicate convincingly across the wide range of repertoire he performs. Holliger has done much to champion the oboe music of composers such as Zelenka and Krommer, and has also had over 100 works composed for him by composers including Berio, Carter, Henze, Ligeti, Lutoslawski, Penderecki and Stockhausen.

Brilliant Classics' Telemann Edition is a cube-shaped, flip-top box set of 29 CDs, drawn from the label's extensive back list. Georg Philipp Telemann was a major figure of the Baroque era and one of the most prolific composers of that or any age; his massive output encompassed Tafelmusik (music for the table), concertos, orchestral suites, chamber works, keyboard pieces, oratorios, operas, and cantatas. This collection is comprehensive in its coverage, providing an in-depth appreciation of Telemann's highly varied and innovative work, and the performances by a long roster of European musicians show a fine sense for period practices. To fit so many discs into this package, they are protected by thin cardboard sleeves, and the thin booklet that accompanies them gives a brief explanation of Telemann's career and reputation over the succeeding centuries. However, the sound quality is only slightly variable and quite pleasant throughout, and the package as a whole is likely to satisfy any Telemann fan.

A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)

For Mozart, wind instruments had their own voices, full of warmth and tenderness, as much as singers did, and his concertos are animated with an operatic sense of drama. His own experience as a violinist allowed him to write five concertos for the instrument that are full of sparky virtuosity, here conveyed with sovereign authority by Henryk Szeryng. This collection (originally released as part of the legendary Philips Classics Mozart Edition) is full of truly authoritative performances featuring internationally acclaimed artists.

A truly beautiful and unique tracklist with rarities including Víkingur Ólafsson’s new arrangement for piano of a Bach Cantata, rare transcriptions for guitar, for mandolin and even String Quartet; alongside familiar Bach masterpieces, all played by the world’s greatest classical artists, curated and presented Deutsche Grammophon.

Early in December 1787 Catherine II of Russia invited the famous composer to her court at St Petersburg where Italian opera was all the rage. A few days after his arrival the wife of the ambassador of Naples and Sicily died and Cimarosa was asked by him to compose a Requiem Mass for the funeral. Composers did not need to bother about being original in those days and Cimarosa could draw easily on a common stock of melodic ideas, but, nevertheless, his Mass is well shaped and certainly not a mere puce d'occasion.

This 10CD collection provides a superb showcase for his artistry, spanning nearly 250 years of repertoire from the well known to the obscure, and to every one of the works here his unique and phenomenal technique to makes the interpretation sound effortless and flawless.

A truly beautiful and unique tracklist with rarities including Víkingur Ólafsson’s new arrangement for piano of a Bach Cantata, rare transcriptions for guitar, for mandolin and even String Quartet; alongside familiar Bach masterpieces, all played by the world’s greatest classical artists, curated and presented Deutsche Grammophon.