State of Time Boeuf in The Basement

This first of the two sets contains four indisputable masterpieces. In the stormy D minor Concerto K. 466, Brendel springs a mild surprise by playing his own cadenzas rather than Beethoven's, the ones most often used. I must confess to preferring Beethoven's unstylish but dramatic and imaginative cadenza to the first movement, but otherwise the performance is beyond reproach. Brendel adds some discreet and entirely appropriate ornamentation to the many repetitions of the second movement's main theme. The Olympian C major K. 467, with its incomparably beautiful slow movement, also receives some much-needed decoration: here the cadenzas are by Radu Lupu and are a bit quirkier than necessary.

Though the saxophone has never found a regular place in the orchestra it has nevertheless captured the interest of a long line of composers; a square peg doesn't need to fit into any orchestral round hole when it is centre-stage. It is, too, one of the instruments whose technique has been advanced by players of jazz—a field in which John Harle remains active. There are now exponents of awesome ability, worthy of the attention of serious composers such as, in this recording, Bennett—who is also given to crossing the musical tracks.

This collection of ten Classical symphonies concertantes was recorded (quadraphonically!) in 1977 and issued as a five-record set by EMI Electrola. Now it has been licensed by CPO and reissued economically on just three CDs.

Although it was Donizetti’s first theatrical success, the original 1822 version of this violent love story was never given a complete performance because the tenor cast in the role of the hero died shortly before the first night. Even so, Donizetti quickly adapted this role for a mezzo-soprano, achieving his first theatrical success. Opera Rara presents the world premiere of the original tenor version. In addition the recording includes six more pieces written for the 1824 revival.

This Mass in B Minor led by Sir Neville Marriner is an excellent choice for those looking for modern orchestral instruments, lively, full adult choruses, and a solid lineup of soloists. Marriner’s performance lacks the ponderously stodgy tempos of those older recordings, but he does not bypass the beauty, spirituality, or grandiosity inherent in the music in favour of speed.

A generous collection of Haydn Concertos, Overtures and Dances, this 2CD set offers the Philips recordings of the Cello Concertos and the Argo recordings of the remaining works. Although released in various reissues, the Marriner/Argo Haydn Concertos have never before been offered together and this collection offers a great opportunity to explore these recordings from 1966–69. Familiar works such as the E flat major Trumpet Concerto and the two Cello Concertos appear together with the little-known Organ Co’ncerto. Also on offer, are two sets of German Dances/Allemandes (both making their first appearance on CD) and a pair of Overtures, of which that for Acide e Galatea’ is a first-on-CD release.