There is some nice 
                programming here, centring around, but 
                not wholly concentrated upon, the august 
                figure of Mason Jones, for over forty 
                years the principal horn of the Philadelphia 
                Orchestra. I don’t know how many performances 
                of the Mozart Quintet he has given over 
                the years but this one was enshrined 
                on an LP originally issued in 1979, 
                the year after his retirement from his 
                orchestral position. It receives a warmly 
                sympathetic reading. With it is coupled 
                Bernard Heiden’s Quintet. Heiden was 
                born in Frankfurt in 1910 and studied 
                with Hindemith at the Hochschule für 
                Musik in Berlin before leaving for America 
                in 1935 where he eventually joined Indiana 
                University’s music faculty. His Quintet 
                was written for horn player John Barrows 
                in 1952 and is a thoroughly idiomatic, 
                splendidly written piece in four movements. 
                It does show the influence of Hindemith, 
                certainly, and with it an often open-hearted 
                lyricism. The second movement in particular 
                has an admonitory and urgent character 
                and a vein of neo-classicism running 
                through it as well. His Andantino is 
                taut and affecting in an aloofly noble 
                way and the concluding Rondo is perky, 
                with folk influences and plenty of rhythmic 
                joie de vivre and energy. 
              
 
              
The Turina, sans 
                Mason of course, makes an invigorating 
                disc mate. The Piano Quartet dates from 
                1931 and is shaped in slow-fast-slow 
                fashion. The opening movement is saturated 
                in folk lyricism, the piano primus inter 
                pares at such moments in laying down 
                rhythmic patterns and the strings responding 
                with pensive and slow pleading lines. 
                The central panel is a gloriously swaying 
                and surging movement, caked in Spanish 
                drama whilst the finale opens in declamatory 
                fashion before the piano takes up the 
                strings’ theatre and softens it into 
                romantic flourish. The Philarte Quartet 
                sound thoroughly inside the idiom and 
                they convey it admirably and without 
                exaggeration. 
              
 
              
This is one of Gasparo’s 
                slimline issues with the notes folded 
                over and tucked into the casing. It 
                makes track identification somewhat 
                difficult but gives you all you need 
                to know about the music and that’s the 
                main thing. 
              
 
              
Jonathan Woolf 
                
              
The 
                entire Gasparo Catalogue may now be 
                purchased through MusicWeb