The latest CD releases reviewed

BACH: SOLO VIOLIN SONATA IN A MINOR BWV1003; PARTITA IN D MINOR BWV1004; BARRY GUY: AGLAIS
Maya Homburger (violin) Maya Recordings MCD 0802 ****

Maya Homburger's approach to Bach's solo violin music is at the opposite pole to Queyras in the cello suites. Her commitment to period instruments is unwavering, and there's no denying a certain asceticism in her sinewy tone, nor

the air of spiritual ritual that she manages to bring to the music. The austerity is impressive, however, and gets under the skin in a positive way. Homburger is recording the solo violin music over three discs (this is the second), each with a new work by Barry Guy. His Aglais, conceived with the sound of Homburger's baroque violin in mind, grows through a Scelsi-like concern to extract the maximum from micro-explorations of single pitches. www.mayarecordings.com

BACH: SOLO CELLO SUITES
Jean-Guihen Queyras (cello)
Harmonia Mundi HMC 901970.71 (2 CDs + bonus DVD) ***

Jean-Guihen Queyras's Harmonia Mundi recording of Bach's solo cello suites has the bad luck to arrive less than a year after Steven Isserlis's exemplary account for Hyperion. Queyras, playing a modern instrument (although he's also an experienced period player), eschews asceticism in this music, seeing Bach's "intellect and his concern for architecture" as creating "an exhilarating life force". His tone is lusher than Isserlis's, the recorded sound more resonant, and the manner more consistently outgoing. Queyras conveys the works in grander gestures than Isserlis, but cannot rival the Englishman for minuteness and insight of detail. It's a case of the great being the enemy of the good. www.uk.hmboutique.com

BRAHMS: PIANO CONCERTO NO 2; TCHAIKOVSKY: PIANO CONCERTO NO 1
Arthur Rubinstein (piano), London Symphony Orchestra/Albert Coates, John Barbirolli Naxos Historical 8.111271 ****

By his own account, the great Polish-born pianist Arthur Rubinstein didn't start practising seriously until 1934, when he was 47. These revealing recordings pre- date his reform, the Brahms with Albert Coates from 1929, the Tchaikovsky with John Barbirolli from 1932. They show a player quite unlike the often aristocratically poised performer of later years. Rubinstein was in his late 60s by the time stereo came along, and recorded for more than 20 years after that. In his 40s he was a much freer and fierier player, engaging in bravado as well as bravura. Brahms's Second Concerto in particular is taken at speeds that most performers would regard as downright reckless. www.naxos.com

THE COMPLETE EMI RECORDINGS
Jacqueline du Pré (cello), with various pianists, orchestras and conductors EMI Classics 504 1672 (17 CDs) **** 

Cellist Jacqueline du Pré emerged as one of the iconic performers of the 1960s. The curtailment of her career by multiple sclerosis in 1973 seems, if anything, to have added to the aura and allure surrounding her. This 17-disc, bargain-priced set represents

just a decade of activity in the recording studio, bolstered by some taping done for the BBC. The playing style is enraptured and enrapturing, the tone gorgeously rich, the manner communicative and generous to a fault, with

many of the performances bearing the heavy expressive thrust of du Pré's husband, Daniel Barenboim, both as conductor and pianist. Completists will revel in the repertoire duplications, and du Pré fans - present and future -will have a field day. www.emi classics.com MICHAEL DERVAN