Scarlatti: Concerti & Sinfonie

Editorial Reviews
Amazon.com
This recording presents music by two Scarlattis: Alessandro (1660-1725), composer of innumerable vocal and chamber works, and his son Domenico (1685-1757), famous mostly for his several hundred keyboard sonatas. Alessandro is represented by six Concerti Grossi, a Sonata, and a Sinfonia; Domenico by three Sinfonias. All feature solo instruments: harp, recorder, and most prominently, violins and continuo cello. Alessandro fostered his son's talent, but the two eventually, perhaps inevitably, became rivals, and Domenico left his native Rome for Portugal and then Spain. Most of Alessandro's music recorded here is somber, solemn, and mournful, full of dissonances and sighing suspensions; four of the six concerti are in minor, but the two in major are bright and sprightly. One of the highlights is the slow, pastoral Finale of No. 6. They vary greatly in form, character, and texture; there is much masterful counterpoint, pungent rhythmic inventiveness, and a chromaticism that seems ahead of its time.

Europa Galante, an excellent Italian period-instrument group, is distinguished by its successful blending of meticulous technical and ensemble execution with musical spontaneity. Notable among the soloists are cellist Maurizio Naddeo and recorder player Petr Zeifart. Violinist Fabio Biondi, the group's director, is outstanding for his virtuosity, beautiful tone, and daring, inventive ornamentation. He deserves our gratitude for rescuing these unfamiliar works from undeserved neglect. --Edith Eisler

Tracks:

Son No.9 in a: Allegro
Son No.9 in a: Largo
Son No.9 in a: Fuga
Son No.9 in a: Pno/Largo
Son No.9 in a: Allegro
Son No.24 in g: Allegro
Son No.24 in g: Fuga
Son No.24 in g: Largo
Son No.24 in g: Allegro
Son No.7 in D: Allegro
Son No.7 in D: Adagio
Son No.7 in D: Fuga
Son No.7 in D: Largo
Son No.7 in D: Allegro
Son No.7 in D: Toccata in g
Son No.21 in a: Andante
Son No.21 in a: Allegro
Son No.21 in a: Veloce
Son No.21 in a: Lento
Son No.21 in a: Allegro
Sonata A Quattro in d: Allegro
Sonata A Quattro in d: Grave
Sonata A Quattro in d: Allegro
Sonata A Quattro in d: Minuet
Son No.22 in A: Allegro
Son No.22 in A: Fuga
Son No.22 in A: Adagio
Son No.22 in A: Andante
Son No.22 in A: Toccata in d
Son in F: (Allegro)
Son in F: Allegro
Son in F: Grave
Son in F: Allegro
Son No.12 in c: Moderato
Son No.12 in c: Fuga
Son No.12 in c: Largo
Son No.12 in c: Andante
Son No.12 in c: Andante

Scarlatti: Concerti Grossi; Cello Sonatas

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Scarlatti: Concerti Grossi; Cello Sonatas

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

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Hummel: Cello Sonata, Piano Trios, Piano Quartet
Locatelli: Concerti Grossi, Op. 1, Nos. 1-6
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12

ASIN: B00005RCFD
Release Date: 2003-06-24

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PERFECTION!

Vivaldi Concerti; Baroque Trumpet Music

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Baroque Trumpet Concertos
Trumpet Concertos
Art of the Baroque Trumpet, Vol. 5: An Italian Concert
Wynton Marsalis - Baroque Music for Trumpet

ASIN: B0000037I6
Release Date: 1994-05-02

Tracks:

Sinfonia To 'Il Nome Glorioso' - For Solo Trumpet, Strings And Continuo: Sonfonia To 'Il Nome Glorioso' - For Solo Trumpet, Strings And Continuo
Concerto For C In Two Trumpets And Strings: Allegro - Largo - Allegro
Sonata A 6 In C: Grave
Sonata A 6 In C: Allegro
Sonata A 6 In C: Grave
Sonata A 6 In C: Allegro
Overture To 'Giardino di Rose' - For 2 Trumpets, 2 Flutes, 2 Oboes, Strings And Continuo
Concerto In D - For Solo Trumpet, Strings And Continuo
Concerto A 6 In C - For Trumpet, Oboes And Basson: Allegro moderato
Concerto A 6 In C - For Trumpet, Oboes And Basson: Affettuoso
Concerto A 6 In C - For Trumpet, Oboes And Basson: Presto
Concerto In D - For 2 Trumpets, Strings And Continuo
Sonata In D - For Solo Trumpet, 2 Violins, Cello And Continuo
Sonata di Concerto A 7 In D - For Solo Trumpet And Strings: Allegro - Grave - Presto- Adagio - Allegro
Sonata In D For Trumpet And Strings: Allegro - Adagio - Allegro
Sonata In D - For 2 Trumpets, Strings And Continuo

Customer Reviews:

PERFECTION!.......1999-05-22

BRILLIANT. JOHN WALLACE IS PERHAPS THE FINEST BAROQUE BRASS ARTIST OF THE DECADE. THE CLARITY OF HIS HIGH NOTES & TRILLS ARE STUNNING.

Average customer rating:

Music to get your teeth into..
Love every second of it!
Excellent Recording; Historically Important
EYE OPENING
Loves the ancient sounds and instruments

Scarlatti: Concerti & Sinfonie

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

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Vivaldi: Violin Concertos (La Tempesta di Mare)
Italian Violin Sonatas: Fabio Biondi/Europa Galante
JS Bach: Violin Concertos - Fabrio Biondi/Europa Galante
Vivaldi: Concerti per mandolini

ASIN: B00005RFSC
Release Date: 2002-05-07

Tracks:

Sinfonia Avanti La Serenata 'Clori, Dorino E Amore': I. Largo
Sinfonia Avanti La Serenata 'Clori, Dorino E Amore': II. Presto
Sinfonia Avanti La Serenata 'Clori, Dorino E Amore': III. Minuet
Sinfonia Avanti La Serenata 'Clori, Dorino E Amore': IV. Grave
Sinfonia In C Major: I. Presto
Sinfonia In C Major: II. Andante E Staccato
Sinfonia In C Major: III. Allegrissimo
Sei Concerti In Sette Parti: Concerto Grosso No.1 In F Minor: I. Grave
Sei Concerti In Sette Parti: Concerto Grosso No.1 In F Minor: II. Allegro
Sei Concerti In Sette Parti: Concerto Grosso No.1 In F Minor: III. Largo
Sei Concerti In Sette Parti: Concerto Grosso No.1 In F Minor: IV. Allemande (Allegro)
Sei Concerti In Sette Parti: Concerto Gross No.2 In C Minor: I. Allegro
Sei Concerti In Sette Parti: Concerto Gross No.2 In C Minor: II. Grave
Sei Concerti In Sette Parti: Concerto Gross No.2 In C Minor: III. Minueto
Sei Concerti In Sette Parti: Concerto Grosso No.3 In F Major: I. Allegro
Sei Concerti In Sette Parti: Concerto Grosso No.3 In F Major: II. Largo
Sei Concerti In Sette Parti: Concerto Grosso No.3 In F Major: III. Allegro
Sei Concerti In Sette Parti: Concerto Grosso No.3 In F Major: IV. Largo
Sei Concerti In Sette Parti: Concerto Grosso No.3 In F Major: V. Allegro
Sei Concerti In Sette Parti: Concerto Gross No.4 In G Minor: I. Allegro Ma Non Troppo
Sei Concerti In Sette Parti: Concerto Gross No.4 In G Minor: II. Grave
Sei Concerti In Sette Parti: Concerto Gross No.4 In G Minor: III. Vivace
Sei Concerti In Sette Parti: Concerto Grosso No.5 In D Minor: I. Allegro
Sei Concerti In Sette Parti: Concerto Grosso No.5 In D Minor: II. Grave
Sei Concerti In Sette Parti: Concerto Grosso No.5 In D Minor: III. Allegro
Sei Concerti In Sette Parti: Concerto Grosso No.5 In D Minor: IV. Minuet (Molto Veloce)
Sei Concerti In Sette Parti: Concerto Gross No.6 In E Major: I. Allegro
Sei Concerti In Sette Parti: Concerto Gross No.6 In E Major: II. Allegro
Sei Concerti In Sette Parti: Concerto Gross No.6 In E Major: III. Largo
Sei Concerti In Sette Parti: Concerto Gross No.6 In E Major: IV. Affettuoso
Sinfonia A 3 In G Major: I. Allegrissimo
Sinfonia A 3 In G Major: II. Grave
Sinfonia A 3 In G Major: III. Allegrissimo
Sinfonia In A Minor: I. Allegrissimo
Sinfonia In A Minor: II. Adagio
Sonata (Concerto IX) In A Minor: I. Allegro
Sonata (Concerto IX) In A Minor: II. Largo
Sonata (Concerto IX) In A Minor: III. Fuga
Sonata (Concerto IX) In A Minor: IV. Piano
Sonata (Concerto IX) In A Minor: V. Allegro

Amazon.com

This recording presents music by two Scarlattis: Alessandro (1660-1725), composer of innumerable vocal and chamber works, and his son Domenico (1685-1757), famous mostly for his several hundred keyboard sonatas. Alessandro is represented by six Concerti Grossi, a Sonata, and a Sinfonia; Domenico by three Sinfonias. All feature solo instruments: harp, recorder, and most prominently, violins and continuo cello. Alessandro fostered his son's talent, but the two eventually, perhaps inevitably, became rivals, and Domenico left his native Rome for Portugal and then Spain. Most of Alessandro's music recorded here is somber, solemn, and mournful, full of dissonances and sighing suspensions; four of the six concerti are in minor, but the two in major are bright and sprightly. One of the highlights is the slow, pastoral Finale of No. 6. They vary greatly in form, character, and texture; there is much masterful counterpoint, pungent rhythmic inventiveness, and a chromaticism that seems ahead of its time.

Customer Reviews:

Music to get your teeth into.........2006-08-04

This disc is a little imposing at first, but familiarity is rewarded with this program of superb early baroque music that has a great variety of pieces.

One of the reviewers below finds it depressing. I can understand how the slow dense shifting chords in several of the pieces could evoke that feeling, but for me they seem to express some deeply felt and complex inner peace, especially as they are interspersed with some light and elegant passages, especially some that feature lute or plucked violin(?).

I guess that this isn't perhaps the easiest Biondi disc to listen to for some people (I would advise listening to a few tracks first), but Europa Gallante give a wonderful compact performance.

Love every second of it!.......2006-07-01

This is my kind of music - rich, elegant, arrogant, polished, colourful and stylish.

Fabio Biondi and his team make the most beautiful possible in this CD and my only complaint is that the CD wasn't totally devoted to Alessandro Scarlatti - why bother with Domenico here?

The A minor concerto/sonata for recorder, two violins, violoncello & basso continuo is a highlight and exquisite piece of music.

A "must have".

Excellent Recording; Historically Important.......2006-06-06

A Crisp and clear recording, and the best of the orderly, structured music of The Enlightenment in my opinion. One can hear the optimism and confidence of the time ringing thru the music of The Scarlattis. Around 1701, Domenico (b.1685 - d.1757) was named organist and composer of the vice-regal court at Naples, where his father was a respected maestro. About a year later he took a leave of absence and travelled with his family to Florence where his father, Alessandro (b. 1660 - d. 1725), hoped for employment from Pnnce Ferdinando de' Medici. Sadly, Alessandro didn't get the job, so his father canned Domenico in 1705 and sent him off to Venice to find employment. Some think that Domenico first met Handel in Venice. (The two eventually formed a strong friendship.) Domenico also spent time in Rome (where he wrote seven operas for Queen Maria Casimira) and in Portugal.

By the invention of the machine gun (esp. the Gatlin gun in 1861), things have changed in classical music, and one does not hear such calm, rational, even mathematical structures appearing as the main motiffs from composers of the day. Even earlier, however, the committment to reason was fading fast. First, in 1853, Richard Wagner publishes the librettos to Der Ring des Nibelungen (The Ring Cycle): Das Rheingold, Die Walküre, Seigfried and Die Götterdämerung. The Ring Cycle is considered one of the most ambitious musical projects ever undertaken by a single person, and everything is now "over the top", poetic and romantic. Second, in 1860 the slave trade introduces West African rhythms, work songs, chants and spirituals to America, which strongly influence blues and jazz, and which attracts many of the best musical minds of the era.

For some time now, there has been no room for any philosopher kings in contemporary (i.e post-enlightenment) society. Given the continuing craziness of the early 21st century, don't look for any to soon arise.

EYE OPENING .......2006-02-06

When I listen to instrumental Baroque music I, of course, go to J.S. Bach then to Tomoso Albinoni and to Antonio Vivaldi not thinking of Alessandro Scarlatti or his son Domenico for instrumental (as in string ensembles) Baroque music. I primarily think of Alessandro for vocal works and Domenico for keyboard works. This recording has certainly opened my eyes to the fact there was far more to the Scarlattis than my preconceived ideas.

Alessandro's Concerti Grossi are indeed rather somber being written mainly in minor keys and consisting of at least two slow movements. I do have a propensity for the love of works in minor keys and for movements marked "Grave", "Adagio" and/or "Largo"; therefore, I enjoyed his Concertos. (After all, there are dance movements that although they would not make one "twirl the floor" they are very graceful.) The programming on this disc is great because the aforesaid somber works by Alessandro are lightened by the Sinfonias of his son Domenico whose works are mainly in major keys and are more lively!

Fabio Biondi and the original instrumental group Europa Galante play wonderfully plus the sound of the recording is full, lush and warm.

In closing, I will still stick to Tomoso Albinoni and to Antonio Vivaldi to start my day. However, this recording of Alessandro and Domenico Scarlatti is a fine way to end my day. The music is indeed beautiful!

Loves the ancient sounds and instruments.......2005-10-12

There is such a difference in this type of music that compares to no other. It is so uplifting and vital.

Avison: 12 Concerti Grossi after Sonatas by Domenico Scarlatti (English Orpheus, Vol 28) /The Brandenburg Consort * Goodman

Average customer rating:

buy the dyad version on Hyperion 2 for the price of one
Moves in the wrong direction
Hitherto unknown to me
A Fine Baroque Release (from a relatively unknown composer)
great

Avison: 12 Concerti Grossi after Sonatas by Domenico Scarlatti (English Orpheus, Vol 28) /The Brandenburg Consort * Goodman
Charles Avison , Roy Goodman , and The Brandenburg Consort
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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Charles Avison: Twelve Concertos, Op. 6

ASIN: B000002ZYA
Release Date: 1995-01-17

Tracks:

Con No.1 in A: Adagio
Con No.1 in A: Allegro
Con No.1 in A: Amoroso
Con No.1 in A: Allegro
Con No. 2 in G: Largo
Con No. 2 in G: Allegro
Con No.2 in G: Andante
Con No.2 in G: Vivace
Con No.3 in d: Largo Andante
Con No.3 in d: Allegro Spiritoso
Con No.3 in d: Vivace
Con No.3 in d: Allegro
Con No.4 in a: Andante
Con No.4 in a: Allegro
Con No.4 in a: Largo
Con No.4 in a: Vivace
Con No.5 in d: Largo
Con No.5 in d: Allegro
Con No.5 in d: Andante Moderato
Con No.5 in d: Allegro
Con No.6 in D: Largo (Unknown)
Con No.6 in D: Con Furia
Con No.6 in D: Adagio
Con No.6 in D: Vivacemente

Tracks:

Con No.7 in g: Adagio
Con No.7 in g: Allegro
Con No.7 in g: Adagio
Con No.7 in g: Allegro Affettuoso
Con No.8 in e: Adagio
Con No.8 in e: Allegro
Con No.8 in e: Amoroso
Con No.8 in e: Vivace
Con No.9 in C: Largo
Con No.9 in C: con Spirito/Andante
Con No.9 in C: Siciliana
Con No.9 in C: Allegro
Con No.10 in D: Grazioso
Con No.10 in D: Allegro
Con No.10 in D: Adagio
Con No.10 in D: Giga (Allegro)
Con No.1: in G: Con Affetto
Con No.11 in G: Allegro
Con No.11 in G: Andante Moderato
Con No.11 in G: Vivacemente
Con No.12 in D: Grave temporegiato
Con No.12 in D: Largo Tempo Giusto
Con No.12 in D: Allegro Spiritoso
Con No.12 in D: Lentemente
Con No.12 in D: Temporegiato
Con No.12 in D: Allegro

Amazon.com

In the days before composers were protected by copyright laws, publishers, players, and other composers could steal whatever music they liked and pass it off as their own. Some of them, however, were slightly more honest, and others, like Avison, both honest and commercially astute. Scarlatti's 30 keyboard sonatas created a sensation when they were published in England. So Avison took them and arranged them as concertos for strings, thereby bringing the music to a wider public. In making these arrangements, Avison completely recomposed much of the music, adding his own ideas where necessary to create a balanced concerto form. The result is a fresh, entertaining collection, vivaciously performed here on "authentic" instruments. --David Hurwitz

Customer Reviews:

buy the dyad version on Hyperion 2 for the price of one.......2007-01-21

this is a great recording, and now it's coming on the dyad 2X1 on Hyperion, so wait a little bit and get it for $20.

Moves in the wrong direction.......2005-05-07

Sure, Avison was a nice guy to credit Domenico Scarlatti as the source for his arrangements--or else callously exploitative--there was no copyright in the 18th century. But Avison's concerti are definitely arrangements of, not original compositions based on, Scarlatti's sonatas. This is not Stravinsky-Pergolesi but Mussorgsky-Ravel, only with a much less talented version of Ravel.

Avison's arrangements smooth out (dumb down) the rhythmic and harmonic originality of the originals. Avison's versions make nice background music, but anyone interested in the ragged edges of the most original composer of the 18th century should listen to any solo keyboard rendition (say Pieter-Jan Belder's) of Scarlatti's K. 26 and compare it to the insipid version of Davison's Concerto #1, movement 4.

Avison's quest to make things too easy for the listener is only half of what I criticise. Another reviewer noted that Bach transcribed or took themes from his contemporaries. Think hard: how many of Bach's transcriptions or Fugues based on Vivaldi or Albinoni or Reinken can you remember? They are student works, steppingstones on the way to great original music like the Italian Concerto.

Sometimes a tight transcription of a work to a more restricted medium is good. The best performance I've ever heard of Mozart's Seranade in G, K 525 (Eine Kleine Nachtmusik) is that by the Guarneri Quartet with Bassist Julius Levine--one to a part! It's tight in a way no orchestra can ever achieve. But imagine Beethoven's C major Rasoumovsky Quartet IV, or whatever YOUR favorite quartet movement might be. Now imagine it played by a symphony string section. No matter if the conductor is Furtwaengler or whoever, the orchestra can never achieve the precision of one to a part.

Scarlatti wrote these sonatas for a solo keyboard player. They exploit the possibilities of the instruments (both harpsichord and Florentine piano) and the precision a single player can provide (yeah, listen again to Avison #1, IV--he calls it "Allegro" but Scarlatti called for "Presto").

So why do I give this recording 4 stars? The performance is excellent. I'd pay to hear that violinist do SOLO arrangements of Scarlatti sonatas that kept that solo edge. If you like well-shaped baroque string orchestral music with distinctive themes, this performance is excellent. But if you want to get with the most original genius of the generation of 1685, listen instead to a solo performance by piano, guitar, harpsichord that can recreate Scarlattispace.

Hitherto unknown to me.......2002-03-05

I am especially fond of baroque style classical. Avison was, prior to my Christmas purchase of this set, unknown to me. I like these very much.

More than Bach? Mozart? Telemann? Hard to say, inasmuch as I have decades of familiarity with them. As well? Absolutely.

A Fine Baroque Release (from a relatively unknown composer).......2002-02-12

Hyperion is a great label for unearthing little-known Baroque gems, and Roy Goodman (with his Brandenburg Consort) comes through again with their recording of Charles Avison's 12 Concerti Grossi (1744).

Avison, a fine English composer, based his concertos on sonatas by Domenico Scarlatti (another Baroque composer). But Avison was by no means a plagerist. It wasn't uncommon for Baroque composers to build upon or rearrange the works of their contemporaries (Bach did this with some of Vivaldi's compositions). Here, Avison took Scarlatti's musical ideas and 'ran with them,' so to speak. The result: beautiful music that embodies the Baroque period.

These 12 concertos are stately and elegant, and rank right up there with the works of Bach, Handel, and Vivaldi. Unfortunately, this 2-disc set is also expensive, so unless you love Baroque music, I'd focus on Bach, Vivaldi, etc., before purchasing these discs. But if you're interested in rounding out your Baroque collection, I would definitely recommend this exceptional recording.

great.......2001-04-23

What makes this recording by the Brandenburg Consort wonderfully unique is the fact that the pieces are played on period-instruments versus more modern strings. This attention to detail gives this reading of Charles Avisons'works a wonderful resonance; indeed, Goodman's version had much life to it, as the faster movements are played with great spirit. The drawback of the recording, to some, is that some of the slower movements come across as a quite choppy. I personally do not feel that way, taking into consideration that Avison's linear writing style inherently makes the slower movements not as smooth as the faster movements. It does not detract from the overall feel from this fine recording.

Tracks:

Sonata In D Minor, Op. 5 No. 12
Les Follies d'Espagne
Primo e Secondo Libro di Toccate: Folia From Toccata No. 7 (Primo tono)
Trio Sonata In D Minor (Variations On 'La Folia'), RV63 (Op. 1 No. 12)
12 Variationen uber die Folie d'Espagne, Wq118,9,H263
Concerto Grosso 'La Folia' (After Corelli)

Customer Reviews:

A unique but limited compilation.......2005-07-11

I was drawn to this album for its unique compilation of "La folia" (pronounced "la foh-LEE-ah," literally meaning mad or empty-headed) -- arguably "the most lasting and famous tune in Western music" and "one of the most remarkable phenomena in the history of music," according to a breathtakingly comprehensive Web shrine, "La folia, a musical cathedral," which explores the hidden world of this famous 16th-century theme and endeavors to list all derivations and interpretations of it. The motif, with its characteristic harmonic pattern, has fascinated composers to the present day (many samples, including many by modern composers are available on that Web site).

Truly, as a theme and variations, this CD may seem repetitive and boring to some. That would be a matter of personal taste. However, I am rather fascinated with it, even more so as I have learned of its history. Among the most famous and influential variations (and my favorites) are those of Arcangelo Corelli (Track No. 1) and Antonio Vivaldi (Track No. 4). I also enjoy the Geminiani. (...)
For a bit of concise background, I excerpt and adapt a few paragraphs from "La folia, a musical cathedral." Its roots (linguistically, metaphorically, musically) of madness, dance, folly, fertility, and pleasure have captured the imagination of many. The taste offered by "La Folia, Variations on a Theme" is perhaps not yet the definitive collection, but for those entranced by La folia, it whets the appetite for more:

"'Folía' (modern spelling; the old spelling lacked the accent, as was the norm in Spain during the sixteenth and seventeenth centuries) is of Iberian origin and refers to a fertility dance in three-four time originating in the late 15th century. In music Folia meant, at least till the 1670s, a very quick-paced and tumultuous dance, in which the dancers carried men dressed as women upon their shoulders. They were literally driven mad by the noise and the stirring rhythm. The 'early' Folia is sometimes called Folías españolas while the 'later' Folia might be indicated as Folías italianas. Derived from the Tuscan term 'Folle' (meaning empty-headed) the title Follia (with double LL) is used by many Italian composers. . . . The English word Folly has roughly the same meaning as the Tuscan term. In France the structure and its variations became known as Folies d'Espagne, with reference to its presumed origin. . . .

"What is so special about this tune?

"(1) The instant appeal of the music might be explained in the human's pursuit for balance. Speaking from a musicological point of view we are dealing with almost perfect symmetry and intricate harmonic layering.

"(2) By far the most important reason is that it is very pleasant music to listen to. There is somehow an instant appeal for listeners and composers alike. It even sounds familiar when you have never heard the piece before. . . . Being captivated by the tune is of course a matter of personal taste, for there remain plenty of people who get bored by hearing only a couple of variations.

"(3) From 1672 up to now the theme has not lost its power. . . . Composers are always looking for something that will give a piece instant flavour and character. La Folia variations provide lots of freedom too because there are no fixed numbers of variations to complete nor has there to be any structure between the variations.

"(4) Finally there is the interesting social phenomenon that the music had its roots in popular culture and developed into a stately court dance; from a fertility dance for the people into a courtly flirtation."

Very Redundant.......2005-06-05

I bought this album for one piece, that being track number four. After I listened through the entire thing I found that I only liked tracks four and five, and after listening to those a two more times, I became very annoyed.
For those of you who don't know, La Folia is just a piece with the same repeating pattern. These patterns go on for one hour with this CD and become boring and annoying.
Tracks number four and five are really the only decent tracks on this album.
Don't become dissapointed with this CD like I did.

Corelli's best work........2000-09-01

This is a spectacular performance of one of Corelli's best work La Folia. I highly recomend this CD to people who like boroque music.

Average customer rating:

Charming, delightful and sure to put a smile on your face

Italian Concerti Grossi

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

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Italian Baroque Favourites
Geminiani: Concerti Grossi Vol. 1
Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12
Albinoni: Oboe Concerti, Vol. 3
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12

ASIN: B0000013ZU
Release Date: 1994-06-28

Tracks:

Sinf in A: Presto
Sinf in A: Andante
Sinf in A: Presto Assai
Son in g, Op.2, No.6: Adagio
Son in g, Op.2, No.6: Allegro
Son in g, Op.2, No.6: Grave
Son in g, Op.2, No.6: Allegro
Con: Allegro
Con: Larghetto E Spiritoso
Con: Allegro
Con Grosso in g, Op. 1, No.12: Largo
Con Grosso in g, Op. 1, No.12: Allemanda: Allegro
Con Grosso in g, Op. 1, No.12: Sarabanda: Vivace
Con Grosso in g, Op. 1, No.12: Presto
Con Grosso in g, Op. 1, No.12: Gavotta: Allegro
Sinf No. 10: Adagio E Spicco
Sinf No. 10: Andante
Sinf No. 10: Non Tanto Largo
Sinf No. 10: Presto
Con Grosso in D, Op.6, No.4: Adagio-Allegro
Con Grosso in D, Op.6, No.4: Adagio
Con Grosso in D, Op.6, No.4: Vivace
Con Grosso in D, Op.6, No.4: Allegro
Con Grosso in c, Op.2, No.2: Adagio
Con Grosso in c, Op.2, No.2: Allegro
Con Grosso in c, Op.2, No.2: Adagio
Con Grosso in c, Op.2, No.2: Allegro
Con Grosso No.3 in F: Allegro
Con Grosso No.3 in F: Largo
Con Grosso No.3 in F: Allegro
Con Grosso No.3 in F: Largo
Con Grosso No.3 in F: Allegro

Customer Reviews:

Charming, delightful and sure to put a smile on your face.......2002-10-10

Naxos specializes in bargain releases of unknown orchestras playing relatively obscure material. Nonesuch did the same thing back in the 60s, and released many fine LPs. This CD, like many other Naxos releases, demonstrates superior musicianship and well-crafted playing. None of these pieces qualify as music for the ages, yet they are so beautifully played, with such verve and authority, that it is imposible not to be delighted.

Tracks:

Concerto a cinque For Oboe And String Orchestra In D Minor, Op. 9 No. 2: Allegro e non presto
Concerto a cinque For Oboe And String Orchestra In D Minor, Op. 9 No. 2: Adagio
Concerto a cinque For Oboe And String Orchestra In D Minor, Op. 9 No. 2: Allegro
Concerto For 4 Violines And Strings Orchestra In B Flat Major, R. 553: Allegro
Concerto For 4 Violines And Strings Orchestra In B Flat Major, R. 553: Largo
Concerto For 4 Violines And Strings Orchestra In B Flat Major, R. 553: Allegro
Concerto For Oboe And String Orchestra No. 2 In C Minor: Allegro moderato
Concerto For Oboe And String Orchestra No. 2 In C Minor: Adagio
Concerto For Oboe And String Orchestra No. 2 In C Minor: Allegro
Concerto grosso, Op. No. 2: Largo e staccato
Concerto grosso, Op. 3 No. 2: Andante risoluto
Concerto grosso, Op. 3 No. 2: Allegro
Concerto For Oboe And String Orchestra In A Minor: Allegro
Concerto For Oboe And String Orchestra In A Minor: Largo - Fugae
Concerto For Oboe And String Orchestra In A Minor: Piano - Allegro
Concerto For String Orchestra In F Minor, Op. 4 No. 8: Grave
Concerto For String Orchestra In F Minor, Op. 4 No. 8: Fuga a cappella
Concerto For String Orchestra In F Minor, Op. 4 No. 8: Largo
Concerto For String Orchestra In F Minor, Op. 4 No. 8: Vivace - V. Allegro
Concerto Of Oboe And String Orchestra In D Minor, R.454: Allegro
Concerto Of Oboe And String Orchestra In D Minor, R.454: Largo
Concerto Of Oboe And String Orchestra In D Minor, R.454: Allegro

Customer Reviews:

Baroque from its birthplace.......2005-09-30

According to the Wikipedia, 'The popularity and success of the "Baroque" was encouraged by the Catholic Church when it decided that the drama of the Baroque artists' style could communicate religious themes in direct and emotional involvement.' This holds true for Baroque music, by and large. The Baroque period is roughly 1600-1750, after the Renaissance and before the age of Classical music.

Baroque music often uses Renaissance features such as polyphony and counterpoint. However, it goes far beyond this predecessor, adding elements such as ornamentation, greater orchestration, less reliance on a capella singing, stronger dominant melody lines, and perhaps the two greatest innovations to come down to modern times - a great concern for documentation (scoring, particularly for individual instruments) and a solidification of the Western tonal scales, major and minor. This makes Baroque music 'seem more like regular music' to the typical Western listener today than Renaissance and earlier music would seem.

This disc is a compilation of pieces released on vinyl by Sony in the 1970s. It has a cross-section of the Italian Baroque composers - the Baroque age is generally considered to have been born in Italy. Vivaldi is the towering figure in this group, but other composers such as Albinoni, Marcello, Geminiani, Locatelli, and Scarlatti also rose to prominence. Many of the pieces contained here may sound familiar to the average listener even as the composers are not as well known.

Each piece on this disc is a concerto. Concertos in this sense have a primary orchestra and a smaller group of soloists or single solo - this is a Baroque innovation that would transform into the more familiar Classical concerto in the next music period. Four of the concerti here have the oboe as the counter instrument, while one uses violins as the primary musical foil.

The performers here are Le Florilegium Musicum de Paris and I Solisti Veneti, under the direction of Claudio Scimone. Known in Europe, some of these recordings were not previously released in North America until the transition to CD was made. The performances here are solid and well crafted, if not particularly well known. This is an example of the many musical talents in Europe that have long been underappreciated in American circles. The Sony transfer from analog to CD format has been expertly done.

This is great and imminently affordable collection of this wonderful music, deserving of a place in any music library.

Another great Baroque CD out of print . . ........2002-02-13

I found this cd at Virgin about 2 years ago when I was first compiling a Classical music collection. After buying (usually at bargain prices) over 400 Classical discs, this Sony release remains one of my favorite Baroque anthologies.

When I used to think about Baroque music, the first (and usually only) names that immediately came to mind were Vivaldi and Bach (and maybe Handel if I had a moment to think about it). This disc opened my eyes (and ears) to composer that up until I purchased this disc I had never knew existed. T. Albinoni's piece is wonderful and catchy; Geminiani's concerto grosso is graceful; Pietro Locatelli's concerto is dynamic and vibrant; Scarlatti's concerto for oboe and string exciting; and of course Vivaldi's pieces are predictably fun and engaging.

I simply adore this disc, and listen to it at least once a month. Although originally recorded in 1974, Sony has done a great job remastering these analog recordings. The remastering is so good that I can't even hear any background noise whatsoever (it's practically as clear as a DDD issue). If you ever come accross this disc (either used or cut-out), don't be afraid to purchase it. It offers some great music by lesser known but wonderfully talented Baroque composers, and hopefully it will inspire you to seek out other works by these same artists.

Music as beautiful as Venezia.......2001-12-02

When most people think of Italian baroque music they think of Vivaldi. A few others may remember to add Albinoni to the list as a result of the unprecendented popularity of his adagio for organ and strings in tear jerker films like Gallipoli an others. few will remeber any of the ither great composers if the Italian Baroque. This CD is an excellent way to refresh the memory and become familiar with some excellent music which is no less beautiful than Vivaldi. Indeed, the during the period from 1650-1750 Itlay priduced a number of composers that helped shape the baroque musical repertiote and standards. The fact that the violin was perfected in Cremona and Verona and the piano was invented in Italy contributed to this phenomenon. This CD features music from Vivaldi's contemporarires, Gemniniani, Marcello, Albinoni and Locatelli. Their concertos are distinctly beautiful. Locatelli emerges as ine of the finest writers for the violin that ever was and Marcello does for the oboe what Beethoven much later would do for the piano. This CD can serve as a door to other musical discoveries. So, after you've listened to these excerpts go and look for individual collections.

Average customer rating:

Baroque Christmas Songs
Flawless Singing Matched by Exquisite Musicianship

Out of the Orient Crystall Skyes

Manufacturer: Wild Boar Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

General Christmas | Holiday Music | Special Features | Music
ASIN: B000005VWM
Release Date: 1993-12-08

Tracks:

Natus Est Jesus
In Dulci Jubilo
Ach Mein Herzliebes Jesulein
Es Ist Ein' Ros' Entsprungen
Villancico De Nadal: Recitative And Aria
Out Of The Orient Crystal Skies
There Is No Such Rose Of Virtue
Coventry Carol
Sweet Was The Song The Virgin Sang
In Nativitatem Domini Nostri Jesu Christi Canticum: Nolite Timere, Pastores
Quem Vidistis, Pastores?
Salve, Salve Puellule
Cantata Pastorale Per La Nativita Di Nostro Signore Gesu Cristo

Customer Reviews:

Baroque Christmas Songs.......2005-03-29

The works on this recording:

1. Natus est Jesus
Philipp Boddecker (1607-1683)

2a. In dulci jublio
Michael Praetorius (c1569-1621)

2b. In dulci jublio
Bartholomaus Gesius (d.1613)

2c. In dulci jublio
Johann Sebastian Bach (1685-1750)

3. Ach mein herzliebes Jesulein
Melchior Schildt (c1592-1667)

4. Es ist ein Ros' entsprungen
Praetorius

5. Recitat and Aria from "Villancico de Nadal"
Pedro Rabassa (1683-1767)

6. Out of the orient crystal skies
Anonymous / arranged by William Byrd (1543-1623)

7. There is no rose of such virtue
Anonymous

8. Coventry Carol
Anonymous

9. Sweet was the song the Virgin sang
Anonymous

10. Nolite timere, pastorale
Marc Antoine Charpentier (c1634-1704)

11. Quem vidistis, pastores?
Ludovico Viadana (1560-1627)

12. Salve, salve puellule
Giacomo Carissimi (1605-1674)

13. Cantata Pastorale per la Nativita
Alessandro Scarlatti (1660-1725)

Flawless Singing Matched by Exquisite Musicianship.......1999-12-01

A crystal voice to sing the crystal skies...Nancy Zylstra's artistry and musicality are nobly matched by her vocal technique. The first note of the first track ("Natus est Jesus") is a textbook example of a *messa di voce* perfectly executed. Yet hers is a warm, real voice, not simply a hooty "boy soprano" sound that characterizes so many early music recordings. Always expressive, always tasteful, she makes this one of my favorite Christmas recordings. The selection of repertoire beautifully balances familiar tunes ("In dulci jubilo," "Coventry carol," "Es ist ein Ros,") with less-well-known works by Charpentier, Carissimi, and a wonderful cantata by Scarlatti. Her compatriots are no mean players either---she is ably accompanied by the flawless continuo playing of Margriet Tindemans, gamba, and Jillon Stoppels Dupree, harpsichord, as well as baroque strings and a viol consort for the larger works. This is a CD of international caliber that every soprano and every vocal-music lover should own.

Scarlatti: Salve Regina; Vivaldi: Stabat Mater; Concerti Per Archi

Average customer rating:

Nice Baroque Team of Vivaldi-Scarlatti
An Emerging Contralto Phenomenon: Marie-Nicole Lemieux

Scarlatti: Salve Regina; Vivaldi: Stabat Mater; Concerti Per Archi

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0000B0X05
Release Date: 2007-04-03

Tracks:

Allegro Molto
Andante
Allegro
Salve Regina
Ad Te Clamamus (Andante)/Exsules Filii Evae (Grave)
Ad Te Suspiramus (Adagio)
Eja Ergo (Andante)
Nobis Post Hoc Exsilium Ostende
O Clemens (Adagio)
Amen (Allegro)
Adagio
Allegro
Adagio
Allegro Affettuoso
Stabat Mater Dolorosa (Largo)
Cujus Animam Gementem (Adagio)
O Quam Tristis (Andante)
Quis Est Homo (Largo)
Quis Non Posset (Adagio)
Pro Peccatis Suae Gentis (Andante)
Eja Mater, Fons Amoris (Largo)
Fac Ut Ardeat (Lento)
Amen (Allegro)
Allegro Molto
Andante Molto
Allegro

Customer Reviews:

Nice Baroque Team of Vivaldi-Scarlatti.......2005-12-06

Lamon and the infamous Tafelmusik Orchestra recorded this interesting program of Contralto works by Vivaldi and Scarlatti as well as Scarlatti string concerto work via Avison's transcription and rearranging Scarlatti's Concerto No. 7.

This results in exquisite baroque disc, starring Contralto Lemieux, who displays passionate and resonant performance in the Salve Regina and Stabat Mater offerings.

An Emerging Contralto Phenomenon: Marie-Nicole Lemieux.......2003-11-13

This is a nicely put together program of high Baroque music with music by Avison, Vivaldi and Domenico Scarlatti. It features that wonderful Canadian baroque orchestra, Tafelmusik, conducted by their music director, Jeanne Lamon. But, best of all, it has two extended pieces for contralto and orchestra that give prominence to a new, to me, and evidently rather young contralto, Marie-Nicole Lemieux, who has me thinking of that other Canadian contralto, Maureen Forrester, who also sang baroque music exquisitely in her day.

First is a brief Sinfonia in G for Strings (RV. 149) by Vivaldi acting as an overture leading us into the seven-movement 'Salva Regina' of Domenico Scarlatti. We don't ordinarily think of Domenico in connection with vocal music; it's usually his father, Alessandro, whose music we hear. But the younger man certainly could write for the voice. Lemieux has a noble sound and plenty of flexibility for this simple, yet baroquely florid, music, and she sings the imploring text, appropriate for Pentecost, with feeling. 'Ad te clamamus' ('To thee we cry') with the following 'Ad te suspiramus' ('To thee we offer our sighs') are moving.

The orchestra follows with Charles Avison's Concerto in G Minor, a string orchestra setting he made of four of Domenico Scarlatti's 'Essercizi per Gravicembalo' (or, as we usually call them in English, 'Sonatas,' that group of 555 masterpieces so beloved by us keyboard players). Avison's arrangement and this performance convey the sonatas' 'ingenious jesting with art,' the phrase Scarlatti used to describe them. There is some luscious solo violin playing here, almost certainly that of Mme Lamon herself.

Next is Vivaldi's well-known nine-movement 'Stabat Mater' for contralto, strings and continuo. (This is as good a place as any to praise the solid continuo harpsichord/organ playing of Olivier Fortin; in this piece he provides the subtle but immensely important organ underpinning.) An early work, it shows Vivaldi's already notable skill at mood-setting. The first section of the poem, depicting the Virgin weeping at the foot of the Cross as her Son is crucified, with its sobbing strings and imploring vocal line, is utterly effective, especially with Mlle Lemieux's artful singing. Similarly effective is the 'Quis est homo qui non fleret' ('What man would not weep') section. [A recent recording with countertenor David Daniels cannot compete with this. I do, however, remember a performance with Janet Baker that may have been superior to this--not recorded by her as far as I know--that reduced me to tears.] The final 'Fac, ut ardeat' ('Make my heart burn') and 'Amen' are a worthy conclusion to this ardent performance. A triumph for all concerned.

The program, constructed much like an actual concert might have been, concludes with Vivaldi's Concerto for Strings in A Major, RV. 158, which lightens the mood set by the tragic 'Stabat Mater.' The precision, ensemble and spirit of the Tafelmusik strings is worthy of praise.

A hearty recommendation.

TT= 57:37

Scott Morrison

Music Review: