This first of two volumes of Tchaikovsky transcriptions (the second will cover the ballets) has the exhilaration not just of the music itself — that moment, for instance, in the Marche slave (transcribed by one H Hanke) when the Russian national anthem, so peculiarly Tchaikovskian, strides in — but of defiant medium-crossing. The glorious Serenade for Strings could not be better calculated for such forces, but creating stringiness on an essentially percussive instrument (as in this previously unrecorded transcription by Max Lippold, elaborated by Goldstone) brings an added zest.