Jean Pierre Rampal

One could say that this album is is another facet of Claude Bolling. Here, the composer, universally well-known for the Suites for "Flûte, Guitare, Violon, Trompette", the Camera Orchestras and also for Cello, reveals his talent like jazz pianist and bring it to great scale. According to the some critics opinion, he is the heir of the American legendary masters as Duke Ellington, Fop Wallers and Earl Hineses, like examples of some with whom Claude shares more than simple affinity.

This is an excellent “traditional” version of the Opus 10 Concertos. I Musici returned three times to that cycle, all for Philips. The first was in 1958 with Gastone Tassinari (who had already recorded the complete flute concertos for Vox in 1956 with an ensemble called “I Musici Virtuosi di Milano”, not the same as “I Musici”… ).

This German conductor was heavily involved in creating three orchestras in his lifetime, most notably the Chamber Orchestra of the Saar. With this group he is often considered to have created one of the definitive recorded collections of Bach's orchestral music. These recordings originally saw the light of day in the early '60s as a Nonesuch release on both LP and cassette. Following an out of print period, it was cause for celebration among Bach lovers when the French Accord label released a six-CD set comprising the entire set of Ristenpart recordings of Bach orchestral works.

This is an excellent “traditional” version of the Opus 10 Concertos. I Musici returned three times to that cycle, all for Philips. The first was in 1958 with Gastone Tassinari (who had already recorded the complete flute concertos for Vox in 1956 with an ensemble called “I Musici Virtuosi di Milano”, not the same as “I Musici”… ).

The flute playing of Patrick Gallois epitomizes several of the prime virtues of the French flute tradition; fine-spun liquidity of tone, delectable phrasing and exemplary breath control, and, when required, the ability to project and capture the attention of the listener, even across full blown orchestral tuttis. But these qualities aside, Gallois is an artist of evident distinction and innate musicality, and I have no hesitation in commending this new recording of works by Rodrigo and Khachaturian to any collector, who, like myself, may have only a limited appetite for the flute!

Franz and Karl Doppler were virtuoso flutists of the middle nineteenth century, born in Lemberg in what is now Ukraine. They toured and worked in various parts of Europe, composing music (sometimes jointly) for their own use in recitals. All the music here, except for the final Concerto for two flutes and orchestra in D minor (first exhumed by Jean-Pierre Rampal), was originally accompanied by piano and has been arranged for orchestra at the behest of Patrick Gallois, one of the flutists featured here.

Isaac Stern may have begun his career as "just" a virtuoso of the violin, but his legacy exists as so much more. A consummate and passionate musician if there ever was one, he was also an ambassador of classical music to the American people, the savior of Carnegie Hall, and a mentor to countless students. This two-disc set entitled The Essential Isaac Stern reveals but the tip of the iceberg of his legacy. The first disc is devoted to single movements of eight of his appearances with orchestra, in particular the Philadelphia Orchestra under Eugene Ormandy, with whom he had a long-standing, highly successful relationship. The works selected do not entirely reflect the breadth of his repertoire. The same is true of the second disc, which focuses on his many chamber music recordings with some of the greatest musicians of the last century, including Pablo Casals, Leonard Rose, Mstislav Rostropovich, and Yo-Yo Ma to name but a few.