The Outer Range

The violin concertos here are not the familiar pair in A minor and E. Bach composed a number of concertos for orchestral instruments and later transcribed them as keyboard concertos. Reversing Bach’s procedure, Wilfried Fischer has taken the harpsichord versions and from them has reconstructed the originals. BWV 1056 is a transposed transcription of the Keyboard Concerto in F minor (though New Grove identifies the outer movements as being from a lost oboe concerto). The D minor work is also usually heard in its keyboard adaptation. The concerto in C minor for two harpsichords appears in its original instrumentation for violin and oboe, the soloists here being perfectly balanced for clarity of line. It was Tovey who suggested that the A major concerto may have been intended for the oboe d’amore, an instrument pitched between the oboe proper and the cor anglais.

Sticky Fingers is the ninth British and eleventh American studio album by the English rock band the Rolling Stones, released 23 April 1971 on their new, and own, label Rolling Stones Records. Sticky Fingers is considered one of the Rolling Stones' best albums. It was the band's first album to reach number one on both the UK albums and US albums charts, and has since achieved triple platinum certification in the US. Songs such as "Brown Sugar," the country ballad "Dead Flowers," "Wild Horses," "Can't You Hear Me Knocking," and "Moonlight Mile" were chart-toppers. The album is inducted in the Grammy Hall of Fame and included in Rolling Stone magazine's 500 Greatest Albums of All Time list.

Violinist Joshua Bell and cellist Steven Isserlis are joined by two acclaimed musical forces - pianist Jeremy Denk and the Academy of St Martin in the Fields, of which Bell is Music Director – in a landmark joint recording, For the Love of Brahms (Sony Classical). Available September 30, 2016, the new album is a unique project that features works of Brahms and Schumann that Bell calls “music about love and friendship.” Bell, Isserlis and Denk unite here in Brahms’s first published chamber work, the Piano Trio in B Major, Op. 8 in its rarely performed original 1854 version. Isserlis also joins Bell – as violin soloist and director – and the Academy of St Martin in the Fields in Brahms’s last orchestral work, the celebrated Double Concerto (for Violin and Cello) in A Minor, Op. 102. Bell, Isserlis and members of the Academy also offer the first recording of an unusual coupling: the slow movement of Schumann’s rarely heard Violin Concerto, in a version for string orchestra made by Benjamin Britten, who also added a short coda.

The disc, well recorded in 1987, is a very good performance of both the symphony and the overture. The symphony makes use of corrections made by studying the manuscript scores specially for this set of recordings. Only the first three symphonies had previously been checked in this way. In reality the differences are relatively small and concern various accenting marks and a few inserted bars. The most interesting potentially is the time signature for the slow movement which Schubert had marked as 2/2 time rather than the printed 4/4 time. This implies a faster pace with two bats per bar rather than four.