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tf\laaTna--Mackie Ja<br />
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better performance,<br />
although both<br />
have moments of<br />
faulty intonation. At<br />
the same time they<br />
are good examples<br />
of how Moyse<br />
liked to teach these<br />
concertos. The<br />
flute tone through-.<br />
out is the well-sustained,<br />
rich and<br />
lively sound for<br />
which Moyse was Robert Aitken & Marcel Moyse with his daughterfamous.<br />
Of course, in-law Blanche Honegger Moyse, .Ba.nff; l?ti4 \ \ 1<br />
there are cuts in all<br />
of the pieces in ~rder to conform to<br />
the old 78s time restrictions.<br />
The J .S. Bach G major Trio which<br />
fills out this CD was recorded in the<br />
same time period by the Moyse Trio<br />
(Marcel Moyse, flute, Blanche Honneger<br />
Moyse, violin, Lou.is Moyse,<br />
piano). It is an excellent example of<br />
the intense, considered music mak-·<br />
ing which continues o~ i~ the tradi:· .·<br />
tion of the Marlboro festival today.<br />
It may not be irt the style we consider<br />
"authentic" but much can be enjoyed<br />
in this performance and the entire<br />
CD for its sincere,' honest artd<br />
intelligent music making.<br />
Robert Aitken<br />
on a G-string) and the Sonata No. 1<br />
A for Solo Violin. The one unfortunate<br />
s for my own iistening, I inclusion is the somewhat cliched<br />
have been enjoying Swedish guitar- Minuet in G (now attributed to Chrisist<br />
Goran Sollscher's "Eleven-String tian Petzold) from the Notebook for<br />
Baroque" (Deutsche Grammophon Anna Magdalena Bach. In the midst<br />
474 815-2). I first encountered Solis- ·of an otherwise serious and mostly ·<br />
cher's playing about a decade ago contemplative record'iqg the playful"<br />
when he recorded several of Bach's ness of this overl'y familiar ditty 'is<br />
c 0 enllho 1 .ssu 1uittee~. E < jarring and out of place, especially '<br />
coming immediately after' thb lush<br />
like 11, Air. That being said, this really iS' a ·<br />
string guitar.<br />
. '<br />
fine collection. ' · ' ' 1<br />
As an amateur<br />
celing<br />
is already well laid o~t it seems.<br />
Tm; REST OF my summer listenlist<br />
myself<br />
Having spent some time' recently<br />
I must confess<br />
that I am wary of transcriptions Quartet recordings of the Shostako- ·<br />
with the original Borodin String ·<br />
of these masterworks and would vich Quartets 1-.13(Chand0s<strong>10</strong>064,<br />
guard them jealously from other instruments.<br />
There have however been in the November 2003 WhbleNote '<br />
4 CDs • see Bruce Surtees'' review<br />
transc~iptions for two very different available online), I decided that' I<br />
instruments that have convinced me would now explore a recent addition<br />
to relax my attitude somewhat: Marion<br />
Verbriiggen' s for recorder, of all<br />
things, and Sollscher's for guitar. So<br />
it was with pleasure that I received<br />
this new offering. Sollscher presents<br />
an eclectic mix of familiar and lesswell-known<br />
works, by both familiar<br />
and obscure composers of the period.<br />
The collection consists predominantly<br />
of works written originally for<br />
to the Shostakovich catalog: Quartets<br />
1-15 in live recordings by the<br />
lute or harpsichord, by Silvius<br />
young Belgian Rubio Quartet<br />
Leopold Weiss, Johann Pachelbel<br />
(Brilliant Classics 6429, 5 CDs).<br />
(did you know he wrote more than<br />
These live recordings were made<br />
"that" canon?) and Fran
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