The contradiction inherent in recording a definitive version of an improvisation is dealt with head on in the extended interview with the players which makes up the sleeve note here, arguing that an improvisation ‘has its own aesthetic quality which can be captured on CD just like an interpretation’.
In Cynthia’s Revels, a play by Ben Johnson, Queen Elizabeth I was represented as Cynthia, the virgin goddess of the moon. It included songs and dances, both of which the queen is known to have greatly enjoyed, so the Flautadors have used this theme to present a programme of instrumental music which might have been heard at Elizabeth’s court.
Kristian Bezuidenhout has already garnered many plaudits for his Mozart keyboard series and this latest volume continues the same exceptional level of engagement with the music.
Ensemble Tourbillon, Petr Wagner 71:57 Accent ACC 24294 [dropcap]B[/dropcap]efore I move on to be critical, I would just like to… Read more Schmierer: Zodiaci Musici (1698)
As the booklet aptly puts it: “The Court of Madrid … acted as deep pit in which the fame of some very good Italian musicians ended up being buried.” For few, I suspect, will have heard names such as Paganelli, Porretti, Supriano, Vidal and Zayas represented on this disc.
This charming account of the Gardano publication of 1592 of madrigals composed by all the big Italian composers of the day, dedicated to Leonardo Sanuda and written in honour of his wife, Elisabetta Giustinian. Like a precursor of the Triumphs of Oriana, one has the sense that the composers are vying with one another
This is – without a doubt – my recording of the month. As much for proving that Haydn is every bit as fun and charming as his younger countryman as for the brilliant playing (in every sense) of all concerned.
This is the first volume in a series to be dedicated to all of Gade’s chamber music, sponsored – apart from state and local government funding – by the “friends of the ensemble”. As Finn Egeland Hansen’s interesting booklet note explains, the repertoire is dominated by strings (there is only one work that does not feature the violin!)
These recordings, made in 1990 and 1991, are attractively packaged, with the two CDs labelled ‘The Beginnings’ and ‘The Flowering’, the latter consisting solely of sonatas by Vivaldi and Geminiani.
I had never before come upon the suggestion that Uta Wald makes in the booklet notes that the impetus for Graupner to start writing purely instrumental music came in 1729 when the woodwind player Johann Michael Böhm fled to the court of Ludwigsburg near Stuttgart