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RARE REPERTOIRE (18^th Century)
(Including some not-so-rare works in special performances)
updated: 01/23/2006

ANTES, John: (1740 – 1811 – First prominent Moravian composer in the US., considered “The Father of American Chamber Music):

Trio No. 1, E flat Major. Members of The Fine Arts Quartet. (T: 13:29)

Trio No. 2 in D Minor. Members of Fine Arts Quartet. (T: 14:08)

Trio No. 3 in C Major. Members of the Fine Arts Quartet. (T: 11:32)

ARNE, Thomas:

Symphony No. 1 in C. Kenneth Montgomery; Bournemouth Sinfonietta (T. 8:48)

Symphony No. 2 in F. Kenneth Montgomery; Bournemouth Sinfonietta. (T. 10:37)

Symphony No. 3 in E flat. Kenneth Montgomery; Bournemouth Sinfonietta (T.9:10)

Symphony No. 4 in C. Kenneth Montgomery; Bournemouth Sinfonietta. (T. 12:10)

BACH, C.P.E.:

Sinfonia No. 15. Willem van Otterloo conducting, [9:50]

BACH, J.S.:

Aria & Variations in Italian Style, BWV 989. Rosaalyn Tureck, harps. (T: 16:44)

Cello Suite No. 3. (transcribed for guitar). Irma Costanzo, guitar

Chaconne from Partita No. 2 in in D minor. Joan Berkhemer, violin. [16:05]

Chaconne from Partita No. 4. Odnoposoff, violin.

Chromatic Fantasy & Fugue, BWV 903. Anthony Newman, harpsichord. (T: 9:11)

Cello arrangements by Villa-Lobos, from the “Well-Tempered Clavier”. Villa-Lobos conducting cello section of the NY Philharmonic

Goldberg Variations. Rosalyn Tureck, harps. (T: 63:44)

Italian Concerto F Major, BWV 971. Anthony Newman, harpsichord (Time: 10:05)

“Largo” from Concerto No. 5, S. 1056. NY Harp Ensemble

“The Little Organ Book” complete. Robert Noehren, organ of 1st Pres., Buffalo N.Y.

Mass in B Minor. Robert SHAW; His Chorale & Orchestra. Shaw’s first stereo recording, considerably more robust then his Telarc version.)

Oboe Concerto in F Major. Heinz Holliger; Orchestre du Chambre Romand. [See my comments under “Leclair”.]

Prelude in G Major. Jacques van Oortmerssen, organ. [3:15]

Violin Concerto in D Minor. Mitropoulos & Szegeti; NYPSO.

Violin Concerto No. 2. w/ Odnoposoff, violin; Goehr; Netherlands Philharmonic Orch.

BACH--BOESENROTT: (That’s Hermann Boesenrott, Librarian of Minneapolis Symphony):

Chorale-Prelude “We All Believe in One Creator”. Mitropoulos; NBC Symphony, live, 12/24/1945.

BACH – MALLOCH:

“The Art Of Fuguing”. Kujas Foaa; Los Angelese Chamber Group. (Lively and slightly risqué Seventies arrangement by a famous producer of audiophile recordings., Terrific fun, and the sound is very clean.

BACH – MAHLER:

Suite for Orchestra. Rozhdestvensky; Leningrad P.O. (Gustav tries his hand at orchestrating Johann; absolutely fascinating and free of bombast, you sense that Mahler was really trying to be faithful to the spirit of the original.)

BACH – MITROPOULOS:

Chorale-Prelude: We All Believe in One Creator (orch. by Boessenrott). w/ NBC Symphony Orch., live, 12/24/45.

BACH – WINOGRAD:

The Art of the Fugue (arr. Winograd). Arthur Winohrad; His String Orc. (35:48)

More conservative in his approach than Malloch, Winograd nevertheless makes a strong case for full-orchestra sound in this otherwise rather precious work).

BARSANTI, Francesco (1690-1760): Concerto in D Major for 2 horns & Orchestra. Berv & Stagliano, horns; Richard Dunn; The Kapp Sinfonietta.

BENDA, Jiri (1722-1795): [With their bubbly, bright-spirited exuberance, the composer’s obvious relish for playing around with contrasts and surprise effects, these small-scaled orchestral works definitely prefigure the symphonies of Haydn. Great music to play when you’re bustling around the house, doing chores. These performances by the Prague Chamber Ensemble had ample gusto, and the recorded sound is very fine. An unalloyed delight.]

Symphony in F Major. Libor Hlavacek; Prague Chamber Ens. [7:45]

Symphony in G Major. “ “ ; “ “ [8:27]

Symphony in C Major. “ “ ; “ “ [7:07]

Symphony in E-Flat “ “ “ “ [12:25]

Symphony in G Major “ “ “ “ [8:26]

BEREZOVSKY, Maxim:

Concerto for Choirs: “Do Not Forsake Me, Lord, in my Old Age.” Alexander Yorov; USSR Academic Chorus. (T: 13:10)

BOCCHERINI:

Minuet. Gerhardt; National Philharmonic Orchestra

Minuet de Quartet. Kostelanetz; NYPSO, mid-fifties

“Night in Seville” (orchestrated by Luciano Berio). Dennis Russell Davies; American Composers Orchestra, live, date & venue unknown.

De BOISVALLEE, Francois:

Adagio Religioso. I Musici [3:40]

BORTYANSKY, Dimitri (Perhaps Tsarist Russia’s greatest composer of choral works. Magnificent Slavic voices, too.)

Cherubim Hymn No. 7. Alexander Yurov;USSR Academc Chorus. (T: 6:05)

Concerto for Choir XI: “Blessed is the Lord”… Valeri Polyansky; USSR Ministry of Culture Choir (T:10:30)

‘ ‘ “ XXXIII: “Why art Thou Lamentable…” Polyansky; USSR Ministry of Culture Choir. (T:11:14)

Concerto for Choir XXIV. Alexander Yurov; USSR Academic Chorus. (T: 8:27)

Concerto for Choir XIX: “The Lord said unto me…” Polyansky; USSR Ministry of Culture Chamber Choir.

Concerto for Choir No. 1 “Sing Unto the Lord a New Song”. Polyansky; USSR Ministry of Culture Choir. (T: 8:01)

Concerto for Choir No. XXI: “He that Dwelleth in the Secret Places…” Polyansky; USSR Ministry of Culture Chamber Choir. (T:10:17)

Concerto for Choir No. VII: “O Come, let us rejoice…” Polyansky; USSR Ministry of Culture Chamber Choir. (T: 6:09)

Concerto for Choirs: “It is a good thing to give thanks…” Pokyansky; USSR Ministry of Culture Choir. (T: 8:09)

CAMPRA, Andre (1660-1744):

Psalm “In Convertendo Dominus”. Pierre Cochereau; Lamoureux Orch; Notre Dame Choir

Rigaudon. E. Power Biggs; Brass & Percussion Ensemble [2:35]

CORELLI:

Concerti Grossi from his Opus 6:

In D, Op. 6/No. 2;

In G Minor, Opus 6/ No. 8

In F, Opus 6/ No. 2

In D, Op. 6/ No. 7

In F, Opus 6/ No. 9

[This collection is from a 1955 RCA LP, in good to very good condition; performances by the “Societa Corelli” eschew period instruments but keep authentic proportions. The ensemble was apparently conductorless, and if one were feeling churlish one could cite a few instances of less-than-perfect attacks, releases, and dynamic shifts; but to hell with that stuff – these guys play with warmth and love and the music blooms under their bows. Evidently a fairly rare release – I can recall seeing one other copy in the last 40 years and it was not in playable condition. If you’re in the mood, it’s fine stuff.]

Concerto Grosso in B, Op. 6/ No. 4. Fasano; Virtuosi di Roma.

DESVIGNES, Pierre (1764-1827):

Te Deum. Pierre Cochereau, organ; Lamoureux Orch. & Notre Dame Choir

DUPHLY, Jacques (1715-1789): See also listings for LEONHARDT, GUSTAV

From his collected Pieces de Clavecin (published in four volumes, in 1744, 1748, 1758, and 1768). All selections are performed by Gustav Leonhardt on a modern reproduction of a harpsichord manufactured c. 1775 by Pascal Taskin:

La de Belombre [3:55]

Les Graces [4:11]

La Damanzy [4:19]

La Forqueray [6:05]

La Othoudin [6:01]

Allemande Courant [7:38]

Menuets [3:37]

La Damanzy – Vivement [3:10]

La Felix – noblement [3:46]

Chaconne [7:30]

FASCH, Johann (1688-1758): Concerto in F for 2 Oboes, 2 Bassoons, 2 Horns, Strings & Continuo. David Zinman, conducting. [10:21]

DE FESCH, Willem:

Concerto Grosso in B Flat Major – First movement only. The Benedetto Marcello String Orchestra [3:03]

GLUCK:

“Dance of the Blessed Spirits” from “Orpheus & Euridice”. Gerhardt; National Philharmonic Orchestra

HANDEL:

L’Allegro ed Il Penseroso (complete). Frederic Waldman; Adele Anderson, sop; John McCollum, tenor; John Reardon, baritone; Albert Fuller, harpsichord; Musica Aeterna Orchestra & Chorus.

Concerto in F Major for Two Horns & Orchestra. Berv & Stagliano, horns; Dunn; Kapp Sinfonietta. [For those not familiar with this piece, it’s the source for the best-known theme in The Water Music.]

Concerto No. 3, G Minor, for Oboe & Strings. Marcel Tabuteau, oboe; Ormandy; Philadelphia Orchestra

Concerto Grosso Op. 6, No. 6. Marriner; St.Martin-in-the-Fields (their FIRST recording!)

Concerti Grossi, Op. 3, complete. BOYD NEEL; The Boyd Neel Orchestra. [Few Americans under age sixty even remember Maestro Neel and fewer still heard or saw him conduct, but he had a long and distinguished career as a specialist in pre-Romantic repertoire, touring and broadcasting extensively with a eponymous “Boyd Neel Orchestra” (like Stokowski and “His Symphony Orchestra”, the personnel changed frequently, but was composed mainly of excellent session musicians, theater-pit players between engagements, and members of more famous orchestras looking to pick up some gigs on the side. Neel’s activities were largely confined to the UK and Canada, but during the first decade of the LP era his catalogue was rather large. TBOMK, there’s not a single extant example of his work on any commercial CD. All the more reason to rejoice when I found this near-mint early London LP at a thrift store in Brevard, N.C., for 75 cents! Neel and his band (from the sound of it, perhaps 40 musicians in all) deliver affectionate, warm, stylish readings of these delightful works; just enough harpsichord continuo for my tastes, finely balanced against the exceptionally polished string sound (Neel was a violinist, if I’m not mistaken). There are certainly much richer-sounding modern accounts of the Opus Three gems, but Neel’s instinctive blend of period-instrument proportions and ever-so-slightly Romantic inflections results in charming, tastefully expressive Handel, which should appeal to listeners, like me, whose tolerance for Original Instruments is limited. Timings weren’t usually given on pre-1960 LPs, but according to my study clock, the performance runs about 46 minutes, give ot take a tick.

Overture in D Major (Orchestrated Elgar). Sir Alexander Gibson; Czech Philharmonic (live, 1984)

Water Music (complete). Thurston Dart; London Philomusica. [One of the earliest stereo releases on the late lamented label L’oiseau-Lyre, this 1958 recording routinely made the critics’ “Best Versions” lists and if it were still in print, it would still be making the cut. Dart was primarily known as a solo harpsichordist and early music scholar, but within his chosen period he was also a fine conductor. No nonsense here about “Ye Olde Authenticke Instruments” (If vibrato-less gut strings and honky valveless brass were so great, why did composers abandon them as soon as something more advanced was invented?), just a moderately full band of approximately fifty players, expertly balanced and voiced by a conductor who deeply loved the music, and captured in perfectly respectable early stereo. Personally, I prefer the beefiest, juiciest Handel I can find (van Beinum’s horns! Stokowski’s sinuous strings! Beecham’s saucy and impertinent winds!), but when I’m in the mood for sheer elegance combined with just a dash of emotion, this is the version I’ve turned to for more than 40 years. Truly a wonderful recording.]

HAYDN:

Divertimento No. 1, B-Flat Major, Philadelphia Wind Quintet.

Hungarian National March. Miklos Erdelyi; winds & percussion of Budapest Philharmonic Orch

Quartet C Major, Op. 76/3, “Emperor”. w/ Vienna Konzerthaus Quartet.

Quartet B flat major, Op. 76/ 4, “Sunrise”. “ “ “.

Seven Last Words of Christ. Scherchen; Vienna State Opera Orch & Vienna Academy Choir [54:55]

Sinfonia Concertante in B flat Major. w/ Antonio Ros-Marba conducting. [21:44]. [I know nothing about this dashing young conductor, but by damn he turns in one of the most ravishingly lovely performances of this glorious work I’ve ever heard]

Sonata No. 33, C Minor, Hob. XVI/20. Anthony Newman, harpsichord. (T: 10:54)

Symphony No. 1 in D. w/ Szymon Goldberg conducting [10:52]

Symphony No. 6 (“Le Matins”). Hill Bowen; Royal Philharmonic Orch. [All I know about Maestro Bowen is that he made a handful of recordings for the old Readers Digest sets…and if all of them were as outstanding as this big-scale but fresh-as-a-daisy Haydn Sixth, I’d like to hear more of his work.]

Symphony No. 67. Vilmos Tatrai; Hungarian Chamber Orch.

“ “ 68: “ “ “ “ “

Symphony No. 101, “The Clock”. Toscanini; Hague Philharmonic Orch, live, 1938. [Unutterably rare!]

Trio No. 34, Hob. XV/20. Jacques-Francis Manzone, violin; Bernard Ringeissen, piano; Frederic Lodeon, cello. (Time: 9:53)

Trio No. 36, Hob. XV/22. Same performers as above. (T: 15:36)

Trio No. 35, Hob. XV/21. Same Performers as above. (Time: 11:37)

Trio No. 37, Hob XV/23. Same Performers as above. (Time: 14:05)

Trio No. 38, Hob. XV/24. Same performers as above. (Time: 12:08)

Trio No.39, Hob. XV/25. Same performers as above. (Time: 11:41)

Trio No. 40, Hob. XV/26. Same performers as above. (Time: 11:39)

Trio No. 41, Hob XV/31. Same Performers as above. (Time: 12:13)

Trio No. 42, Hob. XV/32. Same performers as above. (Time: 15:24)

Trio No. 43, Hob. XV/33. Same performers as above. (Time: 14:45)

Trio No. 44, Hob. XV/34. Same performers as above. (Time: 14:14)

Trio No. 45, Hob. XV/35. Same performers as above. (Time: 15:19)

Trumpet Concerto in E flat Major. Thomas Stevens,.trumpet; Mehta; L.A. Phil. (T:16:56)

HELLENDAAL, Pieter (1721-1799): Concerto Grosso Op. 3, No. 1. Nicolas Harnoncourt; Hague Philharmonic Orch. [no timing given]

KRAUS, Joseph Martin (1756-1792):

Funeral Cantata for Gustav III of Sweden. Newell Jenkins; soloists, Chorus & Orchestra of the Clarion Consorts.

KROMMAR-KRAMER, Frantisek:

Concerto for Oboe & Orch. Frantisek Hantak, oboe; Antonin Devaty; Brno Chamber O.

Di LAPORTO, Isidro (c. 1765 – 1820):

Duos for Guitar, Nos. 1-5. Neil & Tamara Caulkins, duo-guitars. (T: approx. 22:30)

LECLAIR, Jean Marie (1697 – 1764):

Concerto for Oboe, Strings and Continuo, Op. 7/2. Heinz Holliger; Orchestre de Chambre Romand. Probably the most interesting thing about Leclair’s career is that it was terminated by murder (never solved), on the night of October 23, 1764, a sinister fate that is not foreshadowed in this bouncy, good-natured oboe concerto, which sounds pretty much like what you’d expect. Aside from the relative scarcity of Leclair’s music on disc, this recording is also one of the first LPs to feature Holliger’s artistry (he was all of 22 when it was released, on the quite obscure German “Synchro” label – and is, in fact, the only record I’ve ever seen ON that label. The flip side is Bach’s F-Major oboe concerto, which isn’t exactly hurting for performances, but few of this caliber.]

Sonata No. 3 in D. w/ Oistrakh; Vladimir Yampolsy, piano

LOCATELLI – YSAYE:

Sonata in F Minor. w/ Oistrakh; Vladimir Yampolsy, piano

MARCELLO, Alessandro (1684-1750):

“Largo” from the Concerto Grosso for Unison Violins & Four Harps. NY Harp Ensemble

MARTINI, “Il Tedesco”:

Plaisir d’Amour. Eric Hammerstein; London Proms Orchestra

MOURET, Jean-Joseph:

Fanfares for Trumpets, Kettledrums, Violins, & Oboes. Jean-Francois Palliard. Paillard Chamber Orchestra

Symphonies for Violins, Oboes, and Hunting Horns. Jean-Francois Paillard..Paillard Chamber Orchestra.

MOZART:

Eine Kleine Nachtmusik. Jaingro/ I Solisti di Zagreb.

Eine Kleine Nachmusik – 1st Movement only. Gergardt; National Philharmonic Orchestra

Twelve Duos for Two Horns, K. 487. Ferenc Tarjani, French horn; Erzsebet Tusa, piano. [Marvelous music, gallantly and sonorously played; exemplary recorded sound: warm, golden-hued just-right.]

Fantasy for Music Box, K. 608. Ardito Wind Quintet. (Time: 9:21)

German Dances, K. 571. Gerhardt; National Philharmonic Orchestra

Piano Concerto No. 13, K. 415. Landowska; w/ Rodzinski; NYPSO, live, 10/27/46

“ “ No. 22, K. 482. Landowska; Rodzinski; NYPSO, live, 12/2/43. [Sparkling & vivacious, both in the concertos and the sonata; old-fashioned Big Band Mozart, yes, but the aristocratic sheen of the music is irresistible.]

Clarinet Quintet A Major, K. 581. w/ Peter Stemenaur, clarinet; Pascal String Quartet

Piano Quintet, K. 476. Netherlands String Quartet; Theo Bruns, piano. [24:32]

Piano Quintet in G Minor, K. 478. w/ Claude Frank, guest pianist.[28:54]

Quintet in E-Flat for Piano & Winds, K. 452 [28:47]

Quartet in D Major, K. 575. The Stuyvesant String Quartet. [Chamber music connoisseurs have fond memories of this group, whose discography was not large and vanished decades ago. These Mozart performances come from a truly elusive “Philharmonia Records” 12-inch LP, with a few faint scratches that are barely audible and don’t last long. The readings have undeniable elegance and poise, but to my ears at least they lack just a touch of “oomph” needed to elevate them to Parnasus.]

Quartet in D Major, K. 499. The Stuyvesant String Quartet. [Ditto what I said above.]

Requiem – “Sanctus” only. Anton van der Horst; Utrecht Municipal Orchestra & Chorus of Netherlands Bach Society [6:15]

“Sleigh Ride”. Josef Leo Gruber; Vienna Volksoper Orchestra

Sonata No. 12, F Major, K. 332. Landowska, piano; recorded by La Voix de Son Maitre, 1938, Paris.

Variations on “Ah, vous dirai-je maman” (Arr. Gerhardt). Gerhardt; National Philharmonic Orchestra

Violin Concerto No. 4. w/ Fritz Kreisler; Malcolm Sargent; London Philharmonic, c. 1935

Van NOORDT, Anthoni:

Variations on Psalm No. 116. Jacques van Oortmerssen, organ. [3:30]

PACHELBEL, Johann:

Aria Sebaldina & Variations in F Minor. Jacques van Oortmerssen, organ [8:35]

Canon

PERGOLESI, Giovanni Battista:

Concertino in G Major. Janigro/ I Solisti di Zagreb.

SARTI, Giuseppe (1729-1802):

A Russian Oratorio, for Soli, Double Chorus & Grand Orchestra. Vaclav Smetacek/ Bratislava Radio Philharmonic Orch.; Prague Philharmonic Chorus; Soloists. [42:46] [I’d never heard of him, either, until I listened to this tremendously exciting work, but Giuseppe Sarti was well regarded in certain circles. Mozart, for example, writing to Poppa on 6/12/1784, had this to say: “Sarti is a splendid, first-rate creature! I have lately played a good deal of music with him, including a set of variations on an aria of his, which pleased him no end…” (I dare say it did!) Another friend (and patron) was Catherine the Great of Russia, who invited Sarti to be one of her stable of composers. Now, things were a bit, umm, flashier at the Tsarist court than they were at Milan, so Sarti adopted his ornate Italian style to more theatrical modes

of expression. In a “victory cantata” (celebrating the Muskovite victory at Ochkov, in 1789), he scored the triumphal closing pages to include both pealing bells and timed volleys of cannon fire (shades of the 1812 Overture!) and for this grandiose oratorio, he scored the climax to include not only antiphonal choirs of human voices, but also matched pairs of “military” drums, whose sudden entry, in surround-sound, must have been hair-raising in person and is still pretty thrilling on this disc. Reportedly, from notes kept by Prince Potemkin, the “Empress of All the Russias was greatly pleased by the work’s festive and patriotic clangor!” So will you be, too, if you crank this one up load and stand in the middle! Here’s yet another forgotten work by an obscure composer that would raise the roof if it were ever performed live – and it’s not so difficult to play that a good amateur chorus/orchestra combination couldn’t handle it just fine. Enjoy! TBOMK, this is its only recording, and Smetacek pulls out all the stops!]

Gospodiin Pomiluj Ny (God Forgive Me) for Double-Chorus & Orchestra. Smetacek; Czech Philharmonic Chorus. [4:57]

STAMITZ, Carl:

Clarinet Concerto No. 3, B flat major. w/ John Denman, clarinet & Hazel Vivienne; Sadler’s Wells Opera Orch.

STOETZEL, G. H. (1690-1749):

Concerto Grosso for Trumpets, Winds, Strings & Harpsichord. Bernard Wahl; Chamber Orch, of Versailles. (T: 11:11)

“STEINMETZ” (???): {That’s what the curators of the Hessian State Archives in Darmstadt finally decided to name the composer of this singular work – nobody really knows who he was or when he composed or what else he might have written… Good piece too: jaunty and full of energy.] Concerto in D Major for Horn & Orchestra. James Stagliano, horn w/ Dunn; Kapp Sinfonietta.]

TARTINI, Giuseppe (1692-1770):

Sinfonia Pastorale. NY Harp Ensemble.

TELEMANN:

Concerto for Flute in D Major. Kurt Rudel; Pro Arte Ensemble, Munich

Concerto for Oboe in E Minor. Kurt Rudel; Pro Arte Ens. Of Munich.

TELEMANN: Concerto in D Major for Three Horns & Orchestra. w/ Berv & Stagliano, horns; Dunn; The Kapp Sinfonietta. [Notes don’t say, but I assume one of the soloists doubled, via a tape recording, as the “third” horn. Whatever; it’s a splendidly exuberant work, full of juicy “hunting horn” effects, show-off virtuoso flourishes, and general high spirits. The tunes are first-rate, too. I swear, sometimes I actually think I enjoy Telemann more than Bach, even though I would never publicly admit it for fear of what might happen if the Bureau of Good Taste and Musico-Political Correctness ever found out! (So I really didn’t just write that!)]

TELEMANN: Concerto in F Major for Two Horns, Two Violins & Continuo. w/ Berv & Stagliano, horns; Richard Dunn/ The Kapp Sinfonietta.

Concerto for Trumpet in D Major. Kurt Rudel; Pro Arte Ens. Of Munich

Concerto for 3 Trumpets, 2 Oboes, Strings & Percussion. Bernard Wahl; Chamber O. of Versailles. (T: 11:12)

Concerto for Viola in G Major. Kurt Rudel; Pro Arte Ens, Munich

Suite for Orchestra in A Minor. Bernard Wahl; Chamber O. of Versailles. (T: 17:16) (Nice stuff)

VEDEL, Artemy:

Concerto for Choir No. 3 (“How Long, O Lord, Wilt Thou Forsake me?”. Alexander Yurov; USSR Academic Chorus. (T: 15:52)

VIVALDI:

Concerto in A Minor for Piccolo. Miles Zentner, piccolo; MEHTA; L. A. Philharmonic. (Time: 11:15)

Concerto in C Major for Two Trumpets. Maurice ANDRE & Marcel LAGORGE, trumpets. Jean-Francoise Paillard. Paillard Chamber Orchestra.

Concerto in F Major for Viola d’amore, Two Oboes, Bassoons, & Two Horns. Gunther Lemmen, viola d’amore. Jean-Francois Paillard. Paillard Chamber Orchestra.

The Four Seasons. Louis Kauffman, solo violin; Henry Swoboda; MMS Chamber Orchestra. [The chief reason why this ancient MMS record is still sought by collectors is the presence of the redoubtable Louis Kaufman as the solo violinist throughout. Although his solo career never sky-rocketed like those of Heifitz, Francescatti, or Isaac Stern, Kauffman was a “violinists’ violinist”, greatly respected by his colleagues and much sought-after. Dimitri Mitropoulos, for one, considered Kauffman to be one of the finest violinists he ever worked with (surviving recordings bear witness to incandescent music-making when those two got together), and his handling of the lead fiddle part in this perennial favorite is very fresh, very sprightly, rather silvery in timbre; Swoboda and his men seem inspired by example – result? A surprisingly good “Four Seasons”.]

WALTHER, Johann Gottfried:

Pastorella. Jacques van Oortmerssen, organist. [2:45]

WESLEY, Samuel (1766-1837):

.Symphony in D. Kenneth Montgomery; Bournemouth Sinfonietta. (T. 13:25)

ZWIERZCHOWSKI, Mateus (? – 1768):

Requiem. Zbigniew Chwedczuk; soloists, chorus & orchestra of the Pomeranian Philharmonic. (A fascinating and often beautiful work, a cornerstone of the hard-to-find “Musica Antiqua Polonica” series issued by Warsaw’s “Musa” label in the early 70s)