"…Seven CDs is undoubtedly a major collection. There will inevitably be some frustrations that the enterprise was not more thorough in terms of repertoire, and as discussed, there are some howling omissions. Having made the point, let me conclude by acknowledging the high standards of performance and recording that lie at the heart of this set. While there may be a few regrets that it is not as comprehensive as it might (as it ought to?) have been, what we do have is undoubtedly well worth having." ~musicweb-international
A consummate artist whose approach to the cello was directed toward breathing life into the music, Paul Tortelier earned the respect and affection of countless colleagues. An enduring friendship with Pablo Casals found him playing, in the words of a French critic, Apollo to Casals' Jupiter. Like Casals, Tortelier emphasized using but one finger at a time on the string to allow free vibration. Fantasy and emotional freedom marked his performances and attracted numerous young players.
Despite his advanced age and the chaos surrounding him, Richard Strauss remained highly productive well into the 1940s. As the Second World War was coming to an end in 1944-45, the eighty-year-old composer was working on his Oboe Concerto and Sonatina No. 2 for winds, as well as the Metamorphosen for strings. While the latter work was an explicit response to the destruction Strauss was witnessing, in the Concerto and the Sonatina the composer seemed to be turning his mind away from the events surrounding him. There is a pastoral quality to the oboe concerto, with a highly tuneful solo part and more than occasional touches of nostalgia for the 18th century. Similarly, Strauss headed the score of the sonatina with a dedication ‘to the spirit of the immortal Mozart at the end of a life full of thankfulness’.