Isabelle Faust FRANZ SCHUBERT Oktett

In response to a commission from Count Troyer, who wanted a work closely modelled on Beethoven’s famous Septet op.20, Schubert – despite his fervent admiration for the older composer – resolutely struck out on his own by delivering an . . . Octet. While the enlarged forces opened his path towards symphonic writing, examination of the form and expression reveals a much more accomplished and personal composition than has generally been recognised by commentators. Isabelle Faust and her partners, enthralled by what is an exceptional work in every respect, offer us a new interpretation of it on period instruments.

Freiburger Barockochester / Petra Müllejans W.A. MOZART Wind Concertos

Light, sprightly, and delightful, the Freiburger Barockochester's disc coupling Mozart's First and Fourth horn concertos with his oboe and bassoon concertos is oodles of fun. Old timers, longing for the mellow tone of Dennis Brain, might object to hornist Teunis van der Zwart's metallic tone, but they certainly couldn't complain about his glorious technique or his vivacious sense of humor, a vital element in Mozart's horn concertos. And old timers might likewise complain that oboist Katharina Arfken's tone is perhaps too lean and bassoonist Donna Agrell's tone is possibly too pungent compared with, say, the warm, round tone of soloists from the Wiener Philharmoniker, but here, too, they surely couldn't protest that they can't play the heck out of the pieces -- and sound like they're having a rollicking good time doing it, too. Backed by the very dry but very colorful and very skillful Freiburger Barockochester under the direction of Petra Müllejans, this disc might not please everyone, but it will thrill anyone with a tolerance for period instruments and an interest in these standard repertoire works. Recorded in 2006 in the Paulus-Saal in Freiburg by Martin Sauer, Harmonia Mundi's digital sound is clean and close, though a smidgen on the loud side in tuttis. (James Leonard)

Alexander Melnikov PAUL HINDEMITH Sonatas for...

If there is a Cinderella among Hindemith’s three dozen(ish) sonatas, it’s not that for double bass, tuba, or even the Canonic Sonatina for two flutes, but the Sonata for althorn (1943). A tenor instrument, known in the US as the alto horn, it is so rare that Hindemith accepted his sonata could be played on the horn or alto saxophone. It is a delightful work for a delightful instrument, beautifully rendered here. 

Melnikov’s role parallels that of Glenn Gould but his accounts are less wayward than the Canadian’s, his soloists generally stronger. Indeed, in most of the sonatas, the primary competition comes from one-off recordings (now that Ensemble Villa Musica’s almost-complete sonata set, with pianist Kalle Randalu, is unavailable). On BIS, Roland Pöntinen is accompanist for three rival accounts. In the 1935 Violin Sonata, Wallin may now have been overtaken by Zimmermann, Becker-Bender and now Isabelle Faust but choice will depend primarily on couplings since the margins between these contenders is so fine. 

So, too, with the others, though Wendy Warner remains peerless in the Cello Sonata despite a fine challenger here from Rudin. I would not want to be without Lindberg’s Trombone Sonata, though BIS’s sound is a tad over-resonant. Costes’s superb interpretation is the finest since Antonsen’s, accompanied by Sawallisch (EMI – sadly nla), and certainly a match for Laubin’s. I prefer Costes to Tine Thing Helseth’s driven account with Kathryn Stott, in a comparatively fierce recording. In short then, this is a magnificent disc, with leading or contending versions of all the works in terrific, beautifully balanced Harmonia Mundi sound. Let’s hope Melnikov & Co return to record some more. (Gramophone)