Penguin Guide Rosette Winners

“The singing is delightful: neoclassical crispness of articulation goes with refined textures that convey the ripe humour of the one piece, the tender poetry of the other.The inclusion of [the Rimsky Korsakov and Stravinsky], two classics of the gramophone, makes this reissue more desirable than ever.” Penguin Guide, 2011 edition

“an essential recommendation for any collection. These are performances which seem to present a Beethoven 'for the ages', a distillation of a long interpretative tradition, without concern for historical accuracy in text or performance practice. The sense of something monumental is enhanced by the imposing Vienna Musikverein acoustic.” BBC Music Magazine, January 2012

“The recording of the Fifth, always very fine, comes up superbly in this transfer.
What, though, of the Seventh, an equally distinguished performance though always perceptibly greyer-sounding on LP, and on CD? The result is a performance of genius that now speaks to us freely and openly for the first time. In some ways this is a more important document than the famous Fifth.
Great recordings of the Seventh, greatly played and conducted, but with first and second violins divided left and right, are as rare as gold dust. Freshly refurbished, this Kleiber Seventh would go right to the top of any short list of recommendable Sevenths. It's wonderful to have these two legendary performances so expertly restored.” Gramophone Classical Music Guide, 2010

“Mercurial, thrilling accounts of two warhorses from the unique Carlos Kleiber” Gramophone Magazine, 1000th issue (James Jolly)

“In Carlos Kleiber's hands the first movement of the Fifth is electrifying, yet still has an underlying hushed intensity...In the Seventh the symphonic argument never yields to the charm of the dance. Incisively dramatic, his approach relies on sharp rhythmic contrasts and thrustful rhythms.” Penguin Guide, 2011 edition

“There have never been any doubts about these performances. The horn playing in the Sinfoniaconcertante is unsurpassable and in the quintets Gieseking's lightness and his clarity and sense of style is simply beyond praise. The tempos are on the slow side in the first movement of the Mozart and the finale of the Beethoven but somehow with Gieseking, slow tempos have a way of seeming to be just about right. Richard Osborne's excellent notes quote a letter from Sidney Sutcliffe of touching modesty. Speaking of their run-through of the Mozart, he says, 'On reaching the Allegro moderato, the great man played two bars at an absolutely perfect tempo and then stopped and asked in the most gentle and hesitant manner, “Will that be all right for you?” So it was a most happy occasion although I found it a grave responsibility matching the artistry of my colleagues when Bernard [Walton], Cecil [James] and Dennis [Brain] were producing sounds of breath-taking beauty.' Breathtaking is the right word for all concerned here on one of the great chamber music records of the LP era. Considerable pains have been taken with the transfers, which now sound fresh and full bodied. Thoroughly recommended.” Gramophone Classical Music Guide, 2010

“These are four of the best Elgar performances on disc available. First, the recording is superb, with near-perfect balance and a really natural sound. Second, the playing of the BBC Symphony Orchestra is first rate. Andrew Davis's conducting of all four works is inspired, as if he had forgotten all preconceived notions and other interpretations, gone back to the scores and given us what he found there. In Cockaigne, for example, the subtle use of ritardando, sanctioned in the score, gives the music that elasticity which Elgar considered to be an ideal requisite for interpreting his works. The poetry and wit of this masterpiece emerge with renewed freshness. As for the Enigma Variations, instead of wondering why another recording was thought necessary, you'll find yourself rejoicing that such a fine performance has been preserved to be set alongside other treasured versions.
Each of the 'friends pictured within' is strongly characterised by Davis, but without exaggeration or interpretative quirks. Tempos are just right and the orchestral playing captures the authentic Elgarian sound in a manner Boult would have recognised. Similarly, in the Introductionand Allegro, how beautifully the string quartet is recorded, how magical are the gentle and so eloquent pizzicatos which punctuate the flow of the great melody. The fugue is played with real zest and enjoyment. This is music on a large scale and is played and conducted in that way, whereas the early Serenade is intimate and dewy-eyed and that's how it sounds here.” Gramophone Classical Music Guide, 2010

“The exhilarating (1931) score for Bacchus et Ariane teems with life and is full of rhythmic vitality. What a marvellously inventive and resourceful score it is! Tortelier offers the best version yet and the BBC Philharmonic play with tremendous zest.” Penguin Guide, 2011 edition