Edward Elgar Collector's Edition

A trim, at times, almost balletic Falstaff. If that seems a ludicrous contradiction, I should explain that it refers to Dutoit's spirited interpretation of the work, not the central character, though Falstaff himself has shed a few pounds in the process but is no less loveable. Indeed, Dutoit's swift tempo for the second section (at the Boar's Head) has the theme for Falstaff's 'cheerful look and pleasing eye' sounding less like Tovey's understandable misunderstanding of it as ''blown up like a bladder with sighing and grief''. The trimming down process is abetted by the Montreal sound, with lean, agile strings and incisive brass (the horns are magnificent). Some may feel a lack of warmth in the characterization. I certainly felt that the first presentation of Prince Harry's theme (0'40'') could have done with a richer string sonority. Doubtless, too, there will be collectors who, at moments, miss the generous humanity of Barbirolli, or the Straussian brilliance of Solti. And although Mackerras is wonderful in the dream interludes and Falstaff's death, the start of his fourth section, with Falstaff's rush to London only to be rejected by the new King, is short on teeming excitement and anticipation. (Gramophone)

The Starlight Express was adapted from a book by Algernon Blackwood, A Prisoner in Fairyland, for a theatre production in the West End during the First World War, with music by Sir Edward Elgar. Combining the usually contrasting elements of fairytale and melodrama, The Starlight Express depicts the fantasy world inhabited by a group of children, who possess a magical ‘starlight’ quality that has been lost by the adults around them. This is the most comprehensive recorded version of The Starlight Express to date, based on a new score prepared by the Elgar Edition, which has been adapted by the conductor Sir Andrew Davis.

Barbirolli made later recordings of all the works on this CD and these have become cornerstones of the catalogue. These are earlier recordings that he did with his own orchestra, the Halle, in the 1950s. To start with, the recording quality is pretty amazing. They were recorded on 35mm film tape rather than half inch recording tape by the Mercury team and have astonishing immediacy and amazingly lifelike. Barbirolli uses an organ in the finale of the Enigma Variations. The recording is a little bass heavy but this is a small caveat. For people who consider Barbirolli to be a bit indulgent as a conductor, these recordings may come as a surprise. The performances are very direct and nicely flowing. They therefore complement rather than compete with the later recordings. Of course, Barbirolli's later recording of the Cello Concerto with Jacqueline du Pre is a very famous and special rendition of the work. However, it is not without its detractors. Andre Navarra, by contrast, plays with golden tone. He plays gorgeously. Highly recommended.

There are basically two ways in which conductors may approach the Enigma Variations. Either they can take the music at its face value, treating the set of variations as a symphonically developed whole; or they can treat the work as a series of miniature character sketches of Elgar’s “friends pictured within”, highlighting the personalities of the miscellaneous collection of individuals involved. William Boughton in this reading opts for the second option, and the result bubbles with life.

Of all England's living Knight-Conductors, Richard Armstrong is perhaps least represented on record. For 13 years, director of the Welsh National opera, he is best known for his work in that medium with just a handful of recordings.
In 1986, Marks and Spencer the famous department store decided to make its own in-house recording of the Enigma Variations coupled with the Introduction and Allegro and Serenade for Strings and booked Armstrong into EMI's Abbey Road Studios in July with the London Philharmonic to record this disc. The London Philharmonic had this music in its bones by then thanks to Adrian Boult and others, but Armstrong coaxed versions from them that are uniquely his own. Midway between Boult and Barbirolli, Armstrong's interpretations are scrupulously played but also at moments energetic, thoughtful and above all heartfelt. You get the feeling this conductors connects with the music.