Friday, January 6, 2012

Telemann - Quatuors Parisiens Vols 2&3 - Holloway, Duftschmid, et al.







Review:
This CPO edition presents a complete recording of the 12 Paris Quartets featuring high points in Telemann's chamber music as well as enthralling and imaginative interpretations by top-quality instrumentalists performing with elegance and sophistication.
 
flac, covers, thank you Thomas!

Sunday, July 3, 2011

Telemann - Quatuors Parisiens Vol 1 - Holloway, Duftschmid, et al.

 


 

 

 

 

Review:

The works that have come to be known as Telemann’s “Paris Quartets” are actually two sets of works not meant by Telemann to be considered as one combined work. In 1730 in Hamburg, Telemann published six quadri (the word “quartet” was not in use in Telemann’s day) for violin, flute, viola da gamba or cello, and basso continuo, consisting of two concertos, two suites, and two sonatas. In 1736–37, these works were reprinted in Paris as Six Quatuors. In 1737, Telemann was able to fulfill a long-held desire of visiting Paris. During his stay, he published six Nouveaux Quatuors, so-called because of the previous printing of his Hamburg quartets. TheyTelemann were written for the same instrumental group as the 1730 publication. In modern times, these two publications were reprinted together as the “Paris Quartets.” This recording, labeled Vol. 1, is presumably the start of a new set of the complete “Paris Quartets.” For this beginning volume, the performers have chosen two works from each publication. The Concerto in D and the Sonata in A are the second and third works of the 1730 publication, while the Quatuors in A Minor and E Minor are the second and sixth works from the later publication.

The performers are a very accomplished lot. Most of them have appeared on numerous recordings, individually and occasionally with one or two of their colleagues on this recording, generally receiving high praise from Fanfare’s critics. We are not told if they were brought together for this project or if they occasionally perform together as a group. They sound like an experienced ensemble. Their performances are lively without going to extremes. Rhythms, while not stodgy, are steady. These performers do not think the music requires extremes of tempo or fluctuations in tempo, something indulged in by the Musica ad Rhenum in their complete recording of the “Paris Quartets” for Brilliant. The results show that such extremes are not needed in this music. I look forward to further installments of what will undoubtedly be a distinguished set of the “Paris Quartets.”--Ron Salemi 

 

flac, covers, thank you Thomas!

Saturday, July 2, 2011

Antonin Reichenauer - Concertos - Musica Florea (2011)

 


 

 

 

 

Review:

AntonĂ­n Reichenauer (c. 1694–1730) – a few years ago a name virtually unknown, today mentioned by Baroque music lovers in the same breath as the greatest Czech Baroque masters, not to mention Antonio Vivaldi himself. Reichenauer assumed after Johann Friedrich Fasch the post of court composer in the service of Count Morzin, whose chapel Vivaldi called a "virtuosissima orchestra" and for which he wrote a number of concertos. Following the previous – and first-ever – CD featuring Reichenauer’s concertos (SU 4035-2), within its Music from Eighteenth-Century Prague series Supraphon is now releasing world premiere Musica Florea recordings of other concertante works as performed by Musica Florea. Twenty years ago among the Czech pioneers of authentic interpretation of early music, today Musica Florea is an ensemble of international renown with a discography of acclaimed and award-winning recordings (Cannes Classical Award, Diapason d’Or). Their perfectly mastered playing on period instruments brings out to the full all the shades of colour, exquisite melodies and entrancing virtuosity of the concertos. After centuries, Reichenauer’s music is now revived and, as these recordings prove, rightly so. From the archives a priceless treasure has been unearthed. 

 

flac, booklet,thank you Thomas!

LinkWithin

Related Posts with Thumbnails
There was an error in this gadget