The track listings for Warner Classics' 5-CD set Adagios read like a musicians' hall of fame. Lars Fryden and harpsichordist, Gustav Leonhardt, play from Bach's Violin Sonata No. 4 in C minor, Maria-Joao Pires from Beethoven's "Moonlight" Sonata, whilst Daniel Barenboim conducts the Staatskapelle Berlin.
And herein lies the strength of this set that focuses solely on the adagios (though broadly defined to include largos and andantes) of Albinoni, Bach and Beethoven. One Albinoni CD aside, each disc includes around twelve adagios that come from the composers' various symphonies, concertos, sonatas and masses. Played by a range of orchestras and soloists, many of which enjoy international reputations, the quality of performance is frequently breathtaking.
So the Orchestre de Chambre Jean-Francois Paillard's Air on the G String has a more rounded quality than other groups tend to produce with the piece, whilst the Ensemble Vocal et Instrumental de Lausanne's Qui tollis peccata mundi from Bach's Mass in B minor has an exquisitely haunting quality. Similarly, Maria-Joao Pires plays the Adagio from Beethoven's "Moonlight" Sonata with an effecting air of unease, whilst the Staatskapelle Berlin's Adagio molto e cantabile from "The Choral Symphony" is suitably elegant.
But the question remains, why all these adagios? The programme notes justify the set on the grounds that it "gathers together some of the most exquisite movements" ever composed, and given the beauty of both the pieces and the playing that may seem a good enough reason. One might, however, hope for a better opportunity to compare adagios and understand the evolution of the genre, which could be done more effectively were the set not restricted to just three composers.
The Albinoni CD differs from the others in that every piece is played by I Solisti Veneti, conducted by Claudio Scimone. The strings in the famous Adagio in G minor for organ and strings feel so ethereal that this performance could hardly be bettered, but there is also much to delight in in Albinoni's lesser known works, including the Largo from his Concerto No. 8 in G minor, op.10 with its melancholic strains. Indeed, with twenty-three excerpts on this first CD, Albinoni lovers may take a special interest in this package.
In deciding if this set is for you, however, the question is whether you would like to hear all of these adagios, or prefer to invest in listening to all of, say, Bach's Brandenberg Concertos or Passions. To me, however, the strength of playing across fifty-eight beautiful excerpts make this compilation a welcome addition to my collection.
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