Leonardo Vinci: Adagio and Allegro (from Flute Sonata No. 1 in D major)
Franz Joseph Haydn: Adagio (from String Quartet No. 1 in B flat major, Op. 1, No. 1, Hob.III:I, 'La Chasse')
Nicolas Chédeville: Sonata No. 6 in G minor, Op. 13, RV 58, 'Il pastor fido' (previously attributed to Vivaldi)
George Frideric Handel: Eternal Source of Light Divine, HWV 74
Barbara Thompson: Green (2002)
George Frideric Handel: Cara sposa, amante cara, dove sei? (from Rinaldo, HWV 7, Act I)
James Whitbourn: A Brief Story of Peter Abelard (2011)
George Frideric Handel: Violin Sonata in G Minor, Op. 1, No. 6, HWV 364a
Jehan Alain: Choral phrygien, AWV 76 (1935)
Henry Purcell: When I am laid in earth (from Dido and Aeneas, Z. 626, Act III)

And now for something completely different!

Most of what I receive in the mail, be it physical or virtual, is usually expected. But sometimes, out of the blue, recordings I didn't request or hadn't been notified of their submission, magically appear in my mailbox. As I always do out of curiosity, I immediately pop them into the player for an initial audition to determine if they are worth further time investment. Some of them turn out to be disappointing and end up in the 'no' pile, while others, like this recording, are an unexpected and pleasant surprise.

Solas is a collection that brings together pieces, mostly from the Baroque era, presented here in great arrangements for alto, soprano and sopranino saxophones, and pipe organ, most of which are by Gerard McChrystal and Christian Wilson themselves. And what a fine sonic combination these instruments produce. It's not surprising when you consider that some of the reed pipes on an organ resemble the sound of a sax. Throughout, Gerard McChrystal delivers a smooth, legato sound with never a harsh tone. Not even in the highest registers. Always in a cantabile style the emulates the human voice. And Christian Wilson's choice of registration for each and every piece creates the perfect sonic backdrop, opting for generally soft foundation stops. So although the Brief Story of Peter Abelard doesn't quite fit in with the rest of the pieces stylistically speaking, it's great to hear the organ come forward and for both musicians to let down their hair. The Barbara Thompson work is atmospheric and evocative, and sounds tailor-made for this combination of instruments. And the Choral phrygien really brings out the rich timbre of the alto saxophone, beautifully played here.

Definitely worth hearing ... not only for the stunning musicianship, but also as a diversion within your music collection. Now I wish I could see more unexpected and pleasant surprises drop into my mailbox.