It seems like a lifetime ago that I first got to know the concertos by Blavet and Buffardin via Musica Antiqua Köln’s recording with Wilbert Hazelzet in the solo role – in fact, Googling it came up with 1995 as the date, so it is not as long agao as I thought!
This is the second of three CDs that will survey Monteverdi’s non-dramatic secular music. The lavish presentation (a trademark of Les Arts Florissants) includes a booklet that runs to almost 80 pages
chant 1450, Ken Zuckerman Indian sarod 68:23 Christophorus CHR77397 [dropcap]T[/dropcap]his is a bit of a rag-bag: chant from All Souls’… Read more Eros (Renaissance Love Songs) & Thanatos (Plainchant for the Dead)
Just as some people consider Brahms’ first symphony as Beethoven’s tenth, this set of 12 sonatas by Biber is clearly a follow on from Schmelzer’s similarly titled Sacro-profanus concentus musicus. Opening and closing with majestic works for pairs of trumpets and violins, four violas and continuo, the set also includes a rich variety of scorings
Für Violine (Sopranblockflöte) und Basso Continuo. Ed. Dagmar Wilgo. Kölner Reihe Alter Musik, iv + 11pp. Edition Walhall EW971. ISMN:… Read more Johann Heinrich Schmelzer: Sonata Cu Cu
17th-century music is best kept to itself, as far as I’m concerned. The three composers here are less forceful than their famous relative, but have a mild sound that can carry the words with ease.
This volume looks more like a book than a pair of CDs, with 132pp including monochrome pictures of the performers, the others being full colour facsimiles of pictures and music.
Rémi Geniet is a young French pianist who came second in the 2013 Queen Elizabeth Competition and as a result made this, his first recording, at the age of twenty-one. He possesses a formidable technique with extreme rhythmic precision.
In stark contrast to a recording of these pieces I reviewed last month, this magnificent CD is worth every penny! Anyone who choses to perform Telemann’s unaccompanied violin music faces the challenge of justifying why they have done so rather than tackling Bach’s output in the same medium, in this case because there are none of the huge technical demands of the latter and – on the page – Telemann’s writing lacks sophistication.
Ludger Rémy was recently awarded the Fasch-Preis der Stadt Zerbst/Anhalt in recognition of his work over decades in promoting and recording the music of Johann Friedrich, who spent the last 36 years of his life in the service of the court there.