Hearing the three dramatic chords that open the Zauberharfe overture played by this excellent Swiss orchestra (the oldest in Switzerland) I was immediately struck by the clarity of attack and rich instrumental color. As the performance progresses the Musikkollegium Winterthur exhibits an alluring full-bodied tone and characterful playing completely in the Schubertian style. The same goes for the pensive B minor Entr’acte, the lovely Entr’acte 3, and the charming No. 9 Ballet.

This CD is one of two Warner Classics recordings taped live during a series of concerts presented by the world renowned Chamber Orchestra of Europe during Easter Week 2003. The title for the concert series, presented in London, was Passions and Diversions as the works relate to different aspects of reflection and inspiration. In this program, Britten and Stokowski interpret works by Purcell in their own idioms; Britten draws on his English musical roots to inspire an original work, Lachrymae and Britten himself is the source of inspiration in Pärt’s Cantus. In the case of the Vaughan Williams, Tippett and Walton works, the inspirations are other composers and literature. The Chamber Orchestra of Europe has been described in The Financial Times as “the best orchestra in Europe.” The COE was founded in 1981 and has a membership of 50 musicians from 15 countries who perform together mainly in continental Europe and occasionally in the US and Japan. Since its inception, it has appeared with the world’s leading conductors and soloists, and its recordings have consistently won the highest praise and international prizes, including three Gramophone “Record of the Year” awards.

Douglas Boyd and the Chamber Orchestra of Europe play Bach's concerto masterpieces with wonderful sense of rhythms, refinement and articulation.

Hyperion is pleased to present a thirteenth volume of the Romantic Violin Concerto. Although frequently featuring virtuoso showpieces by the composer–violinists of the nineteenth century, this series also includes works of great musical interest which for one reason or another have not entered the repertoire. The performance history of all three pieces recorded here is indissolubly linked with the turmoil of Schumann’s last years.

"Haydn’s 104 symphonies are all fantastic, original, full of incredible fantasy, and careful work brings out the true radicalism of this writing," explained Douglas Boyd, a formidable pioneer. Commissioned in 1785 by the Count of Ogny for the prestigious Concert of the Parisian Olympic Lodge, Symphony n° 87 is one of six so-called “Parisian” symphonies that Haydn composed far from Paris, in the Hungarian Palace of Esterháza (which however is proud of a sumptuous French garden). It was there too that he composed Il Mondo della Luna, an opera-bouffe inspired by Goldoni. Later, the Symphonie concertante belongs to the master's London period and will be celebrated by a dazzled critic from its premiere across the Channel.