These recordings from 1970 through 1974 represent the cream of the crop of
James Galway's recordings as the principal flutist of the
Berlin Philharmonic, and for what it is, it can't be beat. Although
Galway's tone of molten gold and technique of tensile steel is evident on every track from his warmly romantic Morning Mood from Grieg's Peer Gynt through his warmly lyric Concertante Andante grazioso from Mozart's "Posthorn" Serenade to his warmly erotic Dance of the Seven Veils from Salome, only fans will instantly pick out his playing from the uniformly voluptuous sonorities of the
Berlin Philharmonic at the height of
Herbert von Karajan's power. Certainly,
Galway is lovely in the Concertante, but who would say he is lovelier than clarinetist Lothar Koch? Surely
Galway is affecting in the Domine Deus from Bach's B minor Mass, but who would say he is more affecting than soprano
Gundula Janowitz or tenor
Peter Schreier? And in the four movements excerpted from two of Reicha's Wind Quintets,
Galway is only one of five fabulous players and no better than those he's with, which is, of course, the highest possible praise; these are all first desk players with the most virtuosic orchestra in the world. Perhaps only fans of the Irish flutist will seek out these performances, but they will no doubt be fully satisfied by what they hear. DG's early-'70s stereo sound is as good as stereo recordings can get, that is to say, absolutely transparent.