CLASSICAL

Latest releases reviewed

DON QUIJOTE DE LA MANCHA MontserratFigueras (soprano), Hespèrion XXI/Jordi Savall Alia Vox AVSA9843 A+B (2 CDs) *****

This hefty new offering from Jordi Savall's Hespèrion XXI—a pound and a half by weight — looks more like a small coffee-table book than a set of CDs. Savall has celebrated the 400th anniversary of Cervantes's Don Quixote with a two-disc narrative sequence of readings and music. The whole is atmospheric, beautiful and exotically coloured, the two CDs packaged in the end-papers of a 270-page book of texts, notes and multi-lingual translations. Hespèrion XXI are here at the top of their game, glorying in the musical invitations of the novel as reflected by early composers, sometimes seeking out music appropriate to texts for which none survives, and delivering everything with captivating allure. www.uk.hmboutique.com

Michael Dervan

STRAVINSKY: PULCINELLA; THE FAIRY'S KISS Diana Montague (mezzo soprano), Robin Leggate (tenor), Mark Beesley (bass), Philharmonia Orchestra, London Symphony Orchestra/Robert Craft Naxos 8.55703 ****

These two ballet scores find Stravinsky romping with pleasure as he colours and re-shapes other men's music. The composer, of course, believed that he was reworking pieces by Pergolesi in Pulcinella (1920), though, in fact, more than half of them are actually by other hands. The mixing of flavours from the 18th and 20th centuries is clear in Pulcinella, with Stravinsky transforming the effect of his 18th-century material through ultra-modern instrumentation. The Tchaikovsky pieces which inspired The Fairy's Kiss (1928) are re-fashioned altogether more thoroughly. The sources largely lose their identity, leaving their mark as an aura or perfume of attractive mystery. Robert Craft handles these deft, heartfelt musical tributes with affectionate relish. www.naxos.com

Michael Dervan

SAINT-SAËNS: SYMPHONIES, VIOLIN CONCERTOS, PIANO CONCERTOS Orchestre National de l'ORTF/Jean Martinon, Ulf Hoelscher (violin), New Philharmonia / Pierre Dervaux, GabrielTacchino (piano), Orchestra of Radio Luxembourg/Louis de Froment Brilliant Classics 92777 (6 CDs) ****

Saint-Saëns's first surviving symphony was written in 1850 at the age of 15, and the teenager was precocious enough to prompt Berlioz to remark that all the youngster lacked was inexperience. However, only one each of his symphonies, violin concertos and piano concertos has retained any firm hold on modern listeners. Saint-Saëns was the professional composer par excellence, and there's no denying that there can be a problematic balance between craftsmanship and inspiration in his work. The youthful symphonies are hugely impressive in their own derivative way, and the famous pieces (the Organ Symphony, the Third Violin Concerto and the Second Piano Concerto) have many distinctive touches. There's much to enjoy in these performances if you focus on the felicity of the moment rather than the profundity of the whole. Jean Martinon's 1970s EMI recordings were the first to be made of the early symphonies, and Gabriel Tacchino's Vox recordings of the piano concertos have plenty of spirit. At Brilliant Classics prices the whole set comes for less than the cost of a full-price disc. www.joanrecords.com

Michael Dervan

MOZART: SERENADE IN B FLAT K361; EINE KLEINE NACHTMUSIK; GLUCK: ALCESTE OVERTUREBerlin Philharmonic Orchestra, Vienna Philharmonic Orchestra/Wilhelm Furtwängler  Naxos Historical 8.110994 ****

It's smart timing on Naxos's part to issue Wilhelm Furtwängler's 1947 Vienna Philharmonic recording of Mozart's greatest wind serenade this month, when the world is gearing up to commemorate the 250th anniversary of the composer's birth. Furtwängler and his musicians share Mozart's evident delight in the unusual range of sonorities and textures opened up by the 13 instruments. The atmosphere is that of chamber music on the grandest scale, intimate and elevated, easy and natural-sounding in delivery, profound in effect. Eine kleine Nachtmusik is full-orchestra bulky but always vital, Gluck's Alceste Overture (with the Berlin Philharmonic) darkly imposing. Ward Marston's transfers are to his usual high standards. www.naxos.com

Michael Dervan