Philadelphia Woodwind 12 cd

Lots of other groups than the ones Bach would have known have decided they wanted a piece of him, from Stokowski's Philadelphia Orchestra to recorder consorts, brass groups, and even teams of electronic musicians. All these settings involve a degree of compromise. A string quartet, for example, brings a grammar of articulation to Bach that may give him a disagreeable accent. This project, originating in Russia, offers something of a middle ground for listeners who may enjoy the sound of Bach played by a contemporary ensemble: it has been carefully done so as to keep the structures of the Goldberg Variations front and center, with no more variety of texture than they would receive on a piano. Arranger Andrei Eshpai, whose career as a composer dates back into the Soviet era, chooses the combination of two oboes, an English horn, and a bassoon for his wind quartet – all double reeds.

Tchaikovsky’s Sixth Symphony, universally known as the Pathétique, is among the most deeply moving and profound of all works. An enduring masterwork which Tchaikovsky considered to be his greatest composition. Once again the struggle against ‘fate’ is central to this symphony which was to be the last Tchaikovsky wrote. The première took place in October 1893 at St. Petersburg and just eight days later the composer was dead. Few farewells in music are more poignant.

The Fourth Symphony was written at a particularly crucial point in Tchaikovsky’s life. 1877 was not only the year of his disastrous marriage but also the year in which he began his fifteen-year correspondence with his patroness Nadezhda von Meck. The F minor Symphony has always been a popular work with its muscular and melodic writing. Infused throughout the score is the sense of ‘fate’ which Tchaikovsky believed controlled his destiny as he described in a letter to Madame von Meck, “the fateful force which prevents the impulse to happiness from achieving its goal … which hangs above your head like the sword of Damocles.”

This is the first-ever collection of Rudolf Serkin's complete recordings for Columbia Masterworks on 75 discs: Concertos, sonatas, chamber music and vocal performances, all recorded between 1941 and 1985. An all-embracing survey of Rudolf Serkin's recorded achievements, spanning over 44 years. Some collaborations include Adolf Busch, Pablo Casals, Peter Serkin, Jaime Laredo, Frtiz Reiner, George Szell, Eugene Ormandy, and Arturo Toscanini.

This fabulous five disc set is replete with some of those old Stokowski warhorses all recorded in absolutely mind boggling Phase 4 sound, overblown perhaps but astounding for its time. Decca's remastering is absolutely magnificent and the discs are jam packed with almost six hours of music. This is another fine memorial to a great conductor who remained astonishingly vital until the very end of his life.

Jazz bagpipes? The one master is Rufus Harley, who does about all that can be done with that unpromising instrument. After all, once one blows a note, the sound is sustained until the air empties out. This well-conceived sampler draws its music from Harley's Atlantic albums (Scotch & Soul, Bagpipe Blues, and Deuces Wild), plus his guest spot on a Herbie Mann album. Harley, who also is heard playing a bit of soprano, tenor, and flute, performs such numbers as "Feeling Good" and "Pipin' the Blues," the latter teaming him with altoist Sonny Stitt. This sampler is worth exploring.