Elgar Mackerras

At the end of an overlong day laden with teaching and other duties, Edward Elgar lit a cigar, sat at his piano and began idling over the keys. To amuse his wife, the composer began to improvise a tune and played it several times, turning each reprise into a caricature of the way one of their friends might have played it or of their personal characteristics. "I believe that you are doing something which has never been done before," exclaimed Mrs. Elgar. Thus was born one of music's great works of original conception, and Elgar's greatest large-scale "hit": the Enigma Variations. The enigma is twofold: each of the 14 variations refers to a friend of Elgar's, who is depicted by the nature of the music, or by sonic imitation of laughs, vocal inflections, or quirks, or by more abstract allusions.

As well as Sir Charles's first recording of Janácek's Sinfonietta, this 5-CD set also showcases him performing the music of other composers whose music he was particularly famed for the world over.

Sir Charles Groves’s sturdy yet affectionate reading of Arthur Sullivan’s wholly charming Irish Symphony was always one of the best of his EMI offerings with the RLPO and the 1968 recording remains vivid. In the sparkling Overture di hallo, again, Groves conducts with plenty of character. There are also first-rate performances of Sullivan’s undemanding Cello Concerto from 1866 (in a fine reconstruction by Sir Charles Mackerras – the manuscript was destroyed in Chappell’s fire of 1964) as well as Elgar’s wistful little Romance (originally for bassoon). This is a thoroughly attractive mid-price reissue.

Sir Charles Groves’s sturdy yet affectionate reading of Arthur Sullivan’s wholly charming Irish Symphony was always one of the best of his EMI offerings with the RLPO and the 1968 recording remains vivid. In the sparkling Overture di hallo, again, Groves conducts with plenty of character. There are also first-rate performances of Sullivan’s undemanding Cello Concerto from 1866 (in a fine reconstruction by Sir Charles Mackerras – the manuscript was destroyed in Chappell’s fire of 1964) as well as Elgar’s wistful little Romance (originally for bassoon). This is a thoroughly attractive mid-price reissue.

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)

With more than 7 hours of tender music by Tchaikovsky, Mozart, Debussy, Puccini and more, performed by greats like Luciano Pavarotti, Andre Previn and Jose Carreras, this set can complete any romantic evening at home. And if we can't play upon your heart strings, 100 classics for this low price is quite a deal.

This 1986 recording with the London Symphony Orchestra and Julian Lloyd Webber as soloist is the best recording of the Sullivan I have ever come across. The three movements, which are played without a break, climb from a brief formal opening, to soar like an operatic aria in the second movement before culminating in a very powerful and melodic finale. The Herbert Cello Concerto n 2 is one of the composer’s most notable instrumental works (although he was a cellist himself, Herbert remains well known primarily for his operettas and musicals). Lloyd Webber’s interpretation of the concerto is flawless.