Concerto, Opus 5

1. Introduction, Theme and Variations on a Swedish Air for clarinet & orchestra, Op 12
Composed by Bernhard Henrik Crusell
Conducted by Okko Kamu

2. Concerto for clarinet & orchestra No. 2 in F minor, Op. 5
Composed by Bernhard Henrik Crusell
Conducted by Okko Kamu

3. Sinfonia Concertante for clarinet, horn & orchestra, Op 3
Composed by Bernhard Henrik Crusell
with Ivar Olsen , Knut Sonstevold , Kjell-Inge Stevensson
Conducted by Okko Kamu

Tracks:

(...)
Adagio
Allegro
Menuet
Trio A 2 Hautbois E Bassono. Corni E Vile Tacent
Menuet Repetat
Poloinesse. Tutti Violini E Viole Ma Piano. Violino Piccolo Tacet
Menuet Ab Inizio
Trio A 2 Corni & 3 Hautbois In Unissono
Menuet (...) Ab Inizio/Avec Grande Reprise
(...)
Andante
Allegro Assai
(...)
Adagio. Allegro
Sinfonia

Tracks:

Allegro
Andante
Presto
Allegro
Affettuoso
Allegro
Cadenza (First Version; 1st Movement: Bars 147-180)
(...)
Adagio, Ma Non Tanto
Allegro

Amazon.com

If you're familiar with Alessandrini and his sparkling period instrument ensemble you expect interpretations featuring rhythmic drive, colorful playing, and original insights. Those characteristics are what help make this version of Bach's perennial and oft-recorded Brandenburg Concertos so compelling. Tempos are generally on the fast side, but never overly swift, while slow movements have just the right touch of soulfulness. Virtually without exception, the solo bits are done with imaginative, fluent expertise, and Gabriele Cassone's rendition of the famous trumpet part of the Second Brandenburg provides musical thrills, as well as virtuoso ones. Alessandrini himself takes us on a wild ride through the Fifth Concerto's brilliant harpsichord cadenza. In addition to the complete Brandenburgs, this set includes another, earlier version of the Fifth's harpsichord solo, a cantata Sinfonia drawn from the Third's opening movement, and a 43' DVD film featuring scenes from the recording sessions and an interview with Alessandrini about Bach. Add Naïve's superb sonics and this set zooms into the preferred handful of Brandenburg Concerto recordings. --Dan Davis

Customer Reviews:

Impeccable yet Lusty Performances of the Beloved Brandenburg Concerti.......2006-02-04

Rinaldo Alessandrini and Concerto Italiano offer one of the most exhilarating performances of the much recorded and much performed Bach Brandenburg Concerti in the available repertoire today. The zest, warmth and easy tenderness these works convey has rarely sounded so fresh and well played. Each of the 'solo instruments' are superb and the recorded sound is so clear that it begs credibility that the listener is not in the hall with the Concerto Italiano.

While there are numerous recordings, both in the archives and in the seemingly yearly new releases, this 2 CD set is, for this listener, the most rewarding. And for those who like to get the feel of the backstage machinations of just how music flows from the page to the CD there is a DVD that is interesting to see once, but in no way is it as important an incentive to buying this set as the performances themselves. Highly Recommended - even it you have multiple other recordings of this timelessly delightful music. Grady Harp, February 06

Italianate Brandenburgs - and a bonus DVD.......2005-11-10

The first thing one notices with this set is the cover illustration, a photo of a magnificent fourteen-point stag looking out a window while walking in what looks like a deserted multistory concrete parking garage. I have no idea how it is supposed to relate to the music but it certainly is a striking image.

The next thing one notices, and this is more important, is that the musicians -- one to a part in the ripieno group -- are swinging the music in a loose and somehow very Italianate manner. This is fitting, of course, considering that the concerto grosso was invented in Italy by the likes of Corelli and Vivaldi, whose music Bach knew (and copied) very well. One tends to think of the Brandenburgs as very German, but indeed they have more than a little Italian influence in addition to their Teutonic contrapuntal mastery. And all these performances are first-rate. There are jillions of recordings of the Brandenburgs, many of them excellent, but Rinaldo Alessandrini and Concerto Italiano have something rather new to say about them in that they bring that Italian joie de vivre to their traversal. The woodwinds are fruity and a little raw, the strings have suavity and lively phrasing. Of course, the six Brandenburgs feature all manner of solo instruments and there is not a weak soloist amongst them. I particularly liked the sound of the two recorders (designated 'fiauti d'echo' in the Italian headnote) in Concerto No. 4; they are complemented by the wonderful solo violinist, Antonio de Secondi, in that concerto. I also liked the corni di caccia in Concerto No. 1, and the marvelous harpsichord solos, done by Alessandrini (a real virtuoso) in the grandfather of all keyboard concerti, the Concerto No. 5. The dark mahogany tone of the violin-less No. 6 is impressive. The virtuosity of the trumpet soloist in No. 2 (Gabriele Cassone) takes one's breath away with its élan and brilliance. All in all these are marvelous performances worthy of shelf space with all those other terrific Brandenburgs; my own favorites include the Trevor Pinnock/English Concerto, the second set by Harnoncourt/Concentus Musicus, and Jeanne Lamon/Tafelmusik.

There is a bonus DVD (making three discs in all - 2 CDs, 1 DVD), filmed by Philippe Béziat, that shows Alessandrini and Concerto Italiano rehearsing (and featuring long uninterrupted chunks of the music) as well as a lengthy conversation with Alessandrini concerning his thoughts on the Brandenburgs: a worthy addition and quite informative, as are Alessandrini's extensive notes in the booklet.

This set deserves a place in anyone's library.

Scott Morrison

Monteverdi: Quinto Libro de Madrigali (Fifth Book of Madrigals)

Average customer rating:

Exquisite...amazing...sublime!

Monteverdi: Quinto Libro de Madrigali (Fifth Book of Madrigals)
Claudio Monteverdi , Rinaldo Alessandrini , and Concerto Italiano
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Monteverdi: Ottavo Libro de' Madrigali, Vol.1
Monteverdi: Quarto Libro dei Madrigali
Monteverdi: Secondo Libro de' Madrigali (Second Book of Madrigals) /Concerto Italiano * Alessandrini
Madrigals Book I
Monteverdi: Madrigals Book 3

ASIN: B000005W50
Release Date: 1997-03-10

Tracks:

Quinto Libro de' Madrigali: Cruda Amarilli, che col nome ancora
Quinto Libro de' Madrigali: O Mirtillo, Mirtillo, anima mia
Quinto Libro de' Madrigali: Era l'anima mia
Quinto Libro de' Madrigali: Ecco, Silvio, colei ch'in odio hai tanto
Quinto Libro de' Madrigali: Ma se con la pieta non e in te spenta
Quinto Libro de' Madrigali: Dorinda, ah! diro mia se mia non sei
Quinto Libro de' Madrigali: Ecco, piegando le ginocchia a terra
Quinto Libro de' Madrigali: Ferir quel petto, Silvio?
Quinto Libro de' Madrigali: Ch'io t'ami piu de la mia vita
Quinto Libro de' Madrigali: Deh! bella e cara e si soavo un tempo
Quinto Libro de' Madrigali: Ma tu, piu che mai dura
Quinto Libro de' Madrigali: Che dar piu vi poss'io?
Quinto Libro de' Madrigali: M'e piu dolce il penar per Amarilli
Quinto Libro de' Madrigali: Ah! com'a un vago sol cortese giro
Quinto Libro de' Madrigali: Troppo ben puo questo tiranno, Amore
Quinto Libro de' Madrigali: Amor, se giusto sei
Quinto Libro de' Madrigali: T'amo mia vita, la mia cara vita
Quinto Libro de' Madrigali: E cosi a poco a poco
Quinto Libro de' Madrigali: Questi vaghi concenti

Amazon.com essential recording

Monteverdi's Fifth Book of Madrigals begins like the Fourth Book--the first half of the publication contains five-voice a cappella madrigals (with optional continuo) that use surprising dissonances to express the images and sentiments of their texts with extraordinary intensity. The second half, however, breaks new ground: the continuo (i.e., accompanying chord instrument like harpsichord or lute) part becomes independent (and indispensable), thus enabling Monteverdi to set extended passages for one or two voices. One fine example is "T'amo, mia vita" ("I love you, my life")--a rapturous meditation by a young lover who has heard his beloved utter those words. Monteverdi sets the four words for solo soprano, repeating them between lines of the young man's reverie as if replayed over and over in his mind. Concerto Italiano's performance is, quite simply, extraordinary. --Matthew Westphal

Customer Reviews:

Exquisite...amazing...sublime!.......2001-02-08

If I could give this 10 stars I would. This performance of Monteverdi's 5th book is by far the most intense listening that i have experienced from a recording in a long, long time. Concerto Italiano takes these pieces where they have seldom been before...into the high heavens of outer space and the most intimate and hair-raising depths of your inner space. The recording quality is so clean that you can almost hear, in the prepatory breaths, what the singers had for breakfast. But seriously, the extreme dramatic qualities of Allesandrini's interpretations to the exquisite intonation to the amazing skill and sensitivity of each one of the musicians in Concerto Italiano-- this recording will leave you in tears and wholeheartedly agreeing that Monteverdi was the best composer to ever live.

Average customer rating:

Magnificent
Stunning Whitman's Sampler of Vivaldi Vocal Magic
A Treasure Trove of Vivaldi Opera Arias and Ensembles

Vivaldi Edition: Operas

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

$9.99 and Under | Classical Music Blowout | Stores | Music

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Vivaldi Edition: Arie d'Opera
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ASIN: B00022LDI4
Release Date: 2004-08-17

Customer Reviews:

Magnificent.......2006-09-09

This audio CD is the perfect vehicle to drive anyone crazy about Vivaldi operas. All arias seemed to have been carefully selected across many opera albums from Naive's Vivaldi Edition to entice the listener to hear those works. Magdalena Kozena astounds brilliantly with two arias from Juditha Triumphans "Veni, me sequere fidu" and "Agitata infido flatu". In "Agitata" Kozena perfects two long legatos and tops them with a climatic trill. In "Veni", she hypnotizes with a cadenza evocative of a dove's sinusoidal singing. The Naive label should do well in producing another similar CD now that it has recorded additional Vivaldi Operas to draw from.

Stunning Whitman's Sampler of Vivaldi Vocal Magic.......2005-04-06

This is as strong a sampler of Vivaldi's operas as one can get without purchasing entire opera recordings. Highlights from four have been selected here, each recorded in complete form on the Naïve label. They are "Orlando finto pazzo", "La verità in cimento", "Juditha triumphans" and "L'Olimpiade". What the producers have chosen here is the true cream of the crop, a roster of superb, top-of-the-class performances from nearly a dozen world-class singers.

Rising countertenor Philippe Jaroussky starts the program off with an almost religious-sounding lament as Zelim from "La verità in cimento", which he sings in a strikingly ethereal manner. But the women rule the roost in this recording. Mezzo-soprano Magdalena KoÂžena makes clear why she is moving quickly to the major leagues by singing two magnificent arias from "Juditha triumphans", "Veni, veni, me sequere fida", caressed by a clarinet-like instrument called a chalumeau, and "Agitata infio flatu", where she captures the sweeping fury of her character with stunning flourish. Contralto Sara Mingardo is another stand-out with her double-dip, full-throated voice dodging the aggressive strings on Licida's aria from "L'Olimpiade", "Gemo in un punto e fremo," and expertly riding the dramatic playing of Ensemble Matheus on Melindo's aria from "La verità in cimento", "Mivui trader, lo so". If not quite in the league of KoÂžena and Mingardo, soprano Roberta Invernizzi and contralto Sonia Prina acquit themselves admirably with an aria each and especially when they perform the striking duetto of Megacle and Aristea from "L'Olimpiade", "Ne'giorni tuoi felici". There is also an impressive quintetto from "La verità in cimento", "Anima mia, mio ben", which for maximum dramatic impact emphasizes the disparate voices of Jaroussky, Mingardo, tenor Anthony Rolfe Johnson, mezzo-soprano Guillemette Laurens and contralto Nathalie Stutzmann. The disc ends appropriately with a beautiful choral piece, "O quam vaga, venusta, o quam decora" from "Juditha triumphans" with the Coro Giovanile dell'Accademia Nazionale di Santa Cecilia, led by soprano Marina Comparato.

Rarely has a compilation disc sounded so seamless and without the additional burden of carrying different story contexts. Aurally it sounds like one consolidated piece, and credit needs to go to music directors Alessandro De Marchi, Rinaldo Alessandrini and Jean-Christophe Spinosi, who conducted the originally presented operas. Strongly recommended especially for neophytes to Vivaldi's operas like myself.

A Treasure Trove of Vivaldi Opera Arias and Ensembles.......2004-10-02

The National Bibliotheque in Turin, Italy is the repository for uncounted manuscripts by Antonio Vivaldi (1678-1741) and includes more than twenty opera scores, many of which have not seen productions since the 18th century. The Opus 111 record label is industriously releasing performances, about one a season, of these gems and their intention is to record all these scores, plus many arias and ensembles that have become separated from their complete works. This CD is a compilation of music from four of those works - 'La verità in cimento,' 'Juditha triumphans,' 'L'Olimpiade,' and 'Orlando finto pazzo,' all of which have already been recorded as complete operatic performances. The producers of this set have selected some of the choicest morsels for those music-lovers who would not otherwise obtain all four complete sets. The musicians involved - a different group for each opera - are among the most honored among singers and instrumentalists currently performing baroque works. The instrumental groups include the Academia Montis Regalis conducted by Alessandro de Marchi, Concerto Italiano conducted by Rinaldo Alessandrini, and Ensemble Matheus conducted by Jean-Christophe Spinosi. Singers include such standouts as sopranos Marina Comparato, Gemma Bertagnoli, and Roberta Invernizzi, mezzos Magdalena Kozena and Guillemette Laurens, contraltos Sara Mingardo, Nathalie Stutzmann and Sonia Prini, countertenor Philippe Jaroussky, tenor Anthony Rolfe Johnson, and basso Sergio Foresti--an outstanding collection of talented performers.

It would be impossible to comment about all sixteen selections here, but I would want to single out Magdalena Kozena's delectable performance of 'Veni, me sequere fida' from 'Juditha triumphans,' with the luscious solo contribution of an unnamed player of the chalumeau (an ancestor of the modern clarinet). [By the way, 'Juditha triumphans' is actually a dramatic oratorio, but it has sometimes been staged as an opera.] Also outstanding is the dramatic 'Gemo in un punto e fremo' from 'L'Olimpiade,' sung by one of today's stellar contraltos, Sara Mingardo.

Finally, I could not end this note without commenting on the fabulous quintet from 'La verità in cimento' entitled 'Anima mia, mio ben.' There is no question that Vivaldi must have been working with both musically and dramatically superb singers for whom he wrote this. This performance, featuring Rolfe Johnson, Laurens, Stutzmann, Jaroussky and Mingardo, is moving. And it is followed by a simply stunning performance, by Sara Mingardo, of Melindo's aria, 'Mi vuoi tradir, lo so' from the same opera. Mingardo's coloratura is absolutely spot on. (Think of Marilyn Horne and you'll have an idea of what this young Italian contralto sounds like.)

I strongly suspect this release will have value for those who want to dip their toes into the Vivaldian operatic waters. Every single selection is well-done, and it certainly gives an idea of Vivaldi's theatrical output, something that we've tended to neglect in favor of his sacred and instrumental music up to now.

Strongly recommended.

TT=63:20

Scott Morrison

Average customer rating:

Noble melancholy

Geminiani: Concerti grossi, Op. 3

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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Geminiani: Concerti Grossi Vol. 1
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12

ASIN: B000005W56
Release Date: 1997-10-14

Amazon.com

Geminiani was a talented composer, and one of the greatest violinists of his day (he died in 1762). His made his career largely in England, and was a colleague of both Corelli, who was his teacher, and Handel. His concertos follow what Corelli called the Church Sonata form--generally four movements in a slow-fast-slow-fast pattern. Also like Corelli, Geminiani published very little music, there being only three collections of concertos of which Opus 3 was the most important and popular. They are exceptionally well performed by Fabio Biondi, who is a real master of the Baroque violin. Sonics and presentation are truly first class as well. --David Hurwitz

Customer Reviews:

Noble melancholy.......2000-12-06

Before the late, galante Baroque familiar to drive-time classical music listeners, usually in the form of Vivaldi, there was a romantic Baroque. Romantic Baroque sought expressiveness in the midst of its contrapuntal intensity. J. S. Bach is a familiar late example of this deeply-felt Baroque intensity. Geminiani is another example who deserves a wider audience.

He gets just a footnote in the textbooks because he was not responsible for major technical innovations. His contemporaries referred to him as 'Il Furibondo,' sensing a certain wildness in his rhythmic and melodic intentions. This is not Baroque music for the dinner, the bathtub, or the drive home. This is Baroque music that demands your attention.

The concerti in minor keys display the most inspired melodies, and fortunately they predominate. Their contrapuntal depth is always several layers deeper than you'll hear in Vivaldi. The several reprises in Op. 3, no. 6, and the unusual gigue of the final Allegro will strike you with their inventiveness, as will the remarkable opening and fugato of the G minor No. 2.

This is a good performance and recording of these remarkable works. Geminiani is a composer who will serve you well to enoble your melancholy moods.

Boccherini, Geminiani, Legrenzi, Locatelli, Tartini (Box Set)

Average customer rating:

A Fabulous Feast fron Fabio
great value on five of biondi's excellent recordings!

Boccherini, Geminiani, Legrenzi, Locatelli, Tartini (Box Set)

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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Bergamasca
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ASIN: B0000CNTJ8
Release Date: 2003-11-18

Customer Reviews:

A Fabulous Feast fron Fabio.......2007-03-27

This is a reissue of 5 of the many recordings made by Fabio Biondi for Opus 111 in the 1990s, they are still in their original packaging in a cardboard slip cover but at a bargain basement price. As Europa Galante directed by Fabio Biondi are, in my opinion, the best interpreters of the Italian Baroque we can take it as read that the performances on all 5 discs are first rate, and the sound quality on all 5 discs is excellent, too. Writing a full review of all 5 discs is too large a task, as is reading 5 reviews in one go, so I will try to briefly inform the reader about the music on each of the CDs, roughly in the order of dates of composition.
The first CD is titled " Invenzioni Stravaganze", which really does not need translation, covers the period of Italian music in the early-mid 17th century, up to the time of Corelli. This is the period in which the violin, which started as a new instrument, became the most important. Compositions from eight composers are offered, the earliest work from 1613 and the latest 1674. While most of the names were vaguely familiar, I knew little about them or their works before I acquired these CDs. I particularly enjoyed the compositions of Uccelli, Mazzerferetta and Falconio, For these recordings Europa Galante uses 2 violins, viola, cello, theorbo and harpsichord; I also liked the way the theorbo was used as a constant but discrete companion of the harpsichord.
I enjoyed this CD, which I probably would not have bought if it had not been in this discount reissue, and warmly recommend it to anyone interested in the baroque who would like to hear what it sounded like before Corelli.

The second CD is devoted to the works of Francesco Geminiani, 1687-1762, a pupil and disciple of Corelli, who went to London in 1714 where he could make a comfortable living as a free lance composer and violinist. The program opens with the last concerto of his opus 1, which is a transcription of Corelli's opus 5 violin sonatas, the very well known variations on the old tune " La Follia", madness. The remainder of the program is the six concerti grossi of his opus 3, published in 1732. The concertino is 2 violins, viola and cello, accompanied by/opposed by 3 first and 3 second violins, viola, cello, bass, harpsichord and/or chamber organ. These are tuneful and cheerful, and beautifully played, in fact the six excellent concerti, particularly no 1, are to me, highlights of the baroque.

The third CD contains some of the works of Petro Antonio Locatelli, 1685-1768. In his early years he was chiefly known as a great violinist, in his later years, after he moved to Amsterdam, he concentrated on composition. The works on this CD are four of the twelve concerti grossi of his opus 1, published in 1721 but written some years earlier, a sinfonia 'for the funeral of his lady which took place in Rome', and a concerto from opus 7, 'Ariadne's Lament'. The forces used to play this music are the same as those for Geminiani above. I find the choice of the funeral and the lament rather puzzling; they are little known and seldom recorded. There is a lot of Locatelli from which to choose, and I would have preferred a concerto from his famous opus 3, 'L'Arte del Violino'.

Giuseppe Tartini, 1692-1770, is the composer on our next disc, he was known as a virtuoso performer, a great techer and as a prolific composer for the violin, with 135 violin concertos and about 200 violin sonatas to his name. Like Geminiani and Locatelli he was a great admirer of Corelli, although he quickly adopted the Vivaldi three movement model. In my opinion his early works sound more Vivaldian than Corellian, but as he matured he found a voice that was very much his own. On this CD we have 5 sonatas for violin and basso continuo, here cello, harpsicord and theorbo, two from opus 1, there is doubt as to when they were written, possibly 1728, one from opus 2, published in 1743, but probably written much earlier, and two named sonatas, probably later works. The late works, concertos and sonatas, belong in the very late Baroque; they could be referred as Classical. These sonatas are very well played by Fabio and friends.

The last of the 5 CDs takes us well into the Classical period with the cello quintets of Luigi Boccherini, 1743-1805. The cello quintet (2 violins, viola and 2 cellos) was Boccherini's creation, and he wrote 113 of them when employed in the court at Madrid, and beautiful music it is, stately, melodic and quietly joyful. Europa Galante, now a cello quintet, plays them very well too, but somehow not quite as well as more recent recordings, e.g. those of the Vanbrugh quartet with the extra cello played by Richard Lester. I noticed that Biondi was a very young man when this was recorded, 1992, busy establishing himself as a master of the Italian Baroque, and that his later recording of Boccherini cello quintets has been highly praised.

In summary this bargain re-release of Fabio Biondi's earlier recordings on Opus 111 is wonderful value for money and well worth 5 stars. It would be great to see more of these early CDs re-released, as they are now hard to come by

great value on five of biondi's excellent recordings!.......2005-02-11

This box includes five individual discs. Four of the five discs are devoted to individual composers: Boccherini's quintets, Geminani's concerti grossi op.3, Locatelli's concerti grossi op.1, and Tartini's violin sonata's. The fifth disc is of mixed Italian composers. Excellent recordings and performances. The individual discs list for $17.95 each, so this box is an excellent value too!

Average customer rating:

What a Revelation
Generally Dramatic Music Played with Real Brio

La Casa del Diavolo

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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Il Giardino Armonico ~ Musica Barocca

ASIN: B0007LCNMK
Release Date: 2005-04-19

Tracks:

I. Allegro Non Troppo
I. Allegretto
II. Largo
III. Presto
I. Andante, Allegro
II. Adagio
III. Andante, Allegro
IV. Largo
V. Largo Andante
VI. Grave
VII. Allegro
VIII. Largo
I. Allegro Di Molto
II. Andante
III. Prestissimo
I. Andante Sostenuto
II. Allegro Assai
III. Andantino Con Moto
IV. Andante Sostenuto
V. Allegro Assai Con Moto

Customer Reviews:

What a Revelation.......2005-11-26

Hogwood and the Academy of Ancient Music had a recording of Boccherini's Diavolo symphonies that I loved, and abused or lost, only to find, to my horror, that it was out of print. In doing searches again to try and find it, I came across this disk and ordered it, even though it only contains a fraction of the pieces from the other one. First off, the sound is nothing short of amazing. Absolutely no noise, amazing dynamic range. Part of what puts people off to earlier music is the lack of dynamics (changes in volume). After a few listenings, I was suspicious that some of these pieces were being romanticized, there is so much dynamism. But as is the case so often with pieces like Mahler 10, the problem is solved in the listening.

The selections on this disc, even the ordering of the pieces, is great throughout. The first piece, by Gluck, sets a kind of brisk and chilly tone, almost haunting that lingers. The pieces by the Bach sons (CPE and WF) are real ear-openers. Historically we would call these pieces Baroque but there is quite a difference between the Handel and Bach Baroque and these pieces, most of which are from the very end, shortly before the Rococco period which marked the end of the Baroque (which was followed by the Classical period). The lumping of everyone from Domenico Scarlatti and J. S. Bach to CPE and Boccherini into one bucket and calling it baroque was a recent classification (20th C) and debate persisted about it. There are so many different styles (as marked, for instance, by J. S. Bach's various suites: Italian, French and English, and of course, the many German styles (Germany was a bunch of states that had just come through one of the most tumultuous periods of Western history: the 30 years war, where the other powers of Europe basically decided to fight each other in the German states for 30 years, often using mercenaries). Listening to this disc will certainly explode the notions of containment that such a large classification implies (though some people are so turned off by harspichord that its presence is enough to warrant a single tag for a 150 year period that encompasses at least 4 countries). (The Classical Period, by contrast, was only 50 years and much more homogeneous, considering the only composers who remain in the standard repertoire are Haydn and Mozart (though a lot people argue that at least half of Beethoven's career belongs there).)

I wish this same group would put out a disc of the Boccherini diavolo symphonies. Buy this, you will not be disappointed!

Generally Dramatic Music Played with Real Brio.......2005-05-03

I'm not a great fan of original instrument groups, often finding that they are either wan or rough-sounding. I do agree that some performance practice changes that have come into play since the advent of this movement have been to the good, but generally I still prefer orchestral music using modern instruments.

This CD, though, is something special, largely because the group recorded here, Il Giardino Armonico, led by Giovanni Antonini, is so very good. The works contained herein (Amazon hasn't gotten around as of the date of this review of listing the specific pieces) are as follows:

Gluck: 'Dance of the Spectres and Furies' from the ballet 'Don Juan' (1771)
Bach, CPE: Sinfonia Wq 182 No. 5 in B minor for strings and continuo
Locatelli: Concerto Grosso Op. 7, No. 6 'Il pianto d'Arianna' for violin, strings and continuo
Bach, Wilhelm Friedemann: Concerto in F Minor for harpsichord, strings and continuo
Boccherini: Sinfonia Op. 12, No. 4, 'La Casa del Diavolo,' for 2 oboes, 2 horns, strings and continuo (1776)

The Gluck is played with such ferocity that it almost makes one's skin crawl (in a good way, of course!); this is tone-painting long before Romanticism made it the norm, and it is extremely effective. What is interesting -- it helped dictate the contents of this program -- is that the last work here, the Boccherini Sinfonia (subtitled 'La Casa del Diavolo,' ends with a Chaconne based on the Gluck piece. Actually, it is a paraphrase of Gluck's piece with some degree of 'updating' from a distance of only five years. The earlier movements in Boccherini's Sinfonia also contain references to the Gluck. Where Gluck's ballet concludes with a kind of purification, achieved by a serene ending in D major, the Boccherini continues the devilish D minor tsimmis right to the very end. And an exciting performance this is, too.

Locatelli's eight-movement Concerto Grosso, a violin concerto that features soloist Enrico Onofri, portrays the lament of Ariadne, a subject so beloved on Baroque composers. It is not programmatic, but the general tenor is one of longing, frustration, rage and resignation in turn. Onofri is a neat soloist and he is given neat support by the orchestra. The pieces by the two Bach sons are halfway between baroque and galant styles, both pretty dramatic in tone. The Friedmann Bach concerto features harpsichordist Ottavio Dantone.

This is a well-planned program that tends toward the dramatic in tone, certainly in keeping with the overall title of the disc, taken from the Cherubini piece, 'La Casa del Diavolo.' It is in crystal-clear and lifelike sound. The program notes are informative and nicely written by conductor Antonini.

Scott Morrison

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Frescobaldi: Arie Musicali Book 2, 1630
Girolamo Frescobaldi , Concerto Italiano , and Rinaldo Alessandrini
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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Monteverdi: Musica Sacra; Le Passioni dell'Anima

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Monteverdi: Musica Sacra; Le Passioni dell'Anima

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Vivaldi: The Four Seasons; String Concertos (Box Set)

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George Frideric Handel: Concerti Grossi Opus 3

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This would make anyone a Handel fan!

George Frideric Handel: Concerti Grossi Opus 3

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ProductGroup: Music
Binding: Audio CD

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Tracks:

Concerto Grosso Op.3 No.4a: Largo-Allegro
Concerto Grosso Op.3 No.4a: Andante
Concerto Grosso Op.3 No.4a: Allegro
Concerto Grosso Op.3 No.4a: Menuet. Alternat: Allegro
Concert Grosso Op.3 No.5: Largo
Concert Grosso Op.3 No.5: Allegro
Concert Grosso Op.3 No.5: Adagio
Concert Grosso Op.3 No.5: Allegro ma non troppo
Concert Grosso Op.3 No.5: Allegro
Concert Grosso Op.3 No.6: Vivace
Concert Grosso Op.3 No.6: Allegro
Concert Grosso Op.3 No.2: Vivace
Concert Grosso Op.3 No.2: Largo
Concert Grosso Op.3 No.2: Allegro
Concert Grosso Op.3 No.2: Minute
Concert Grosso Op.3 No.2: Gavotte
Concert Grosso Op.3 No.3: Largo e staccato-Allegro
Concert Grosso Op.3 No.3: Adagio-Allegro
Concert Grosso Op.3 No.1: Allegro
Concert Grosso Op.3 No.1: Largo
Concert Grosso Op.3 No.1: Allegro

Amazon.com

John Eliot Gardiner directs lively and intelligent performances of these concertos, lacking perhaps the last ounce of charm. At this point in the history of his English Baroque Soloists, they hadn't quite lost all of their "original instrument" edge, but it's not a big worry. The fact is, there aren't that many performances of the Op. 3 concertos (at least compared to Op. 6), and these are certainly among the best. --David Hurwitz

Customer Reviews:

This would make anyone a Handel fan!.......2000-10-11

These concertos are less famous and less recorded than the Opus 6 concerti grossi but in this recording, they are fabulous. This is that rare disc that you could listen to over and over and just keep smiling. Ok, this is one of the select that I would take to a desert isle. No kidding, Gardiner and the always excellent EBO play these pieces like I have never heard them before. They are quick tempi but not rushed and they are full of embellishments that are never intrusive and always delightfull. These folks are such consumate artists that their playing seems effortless. This recording would make Handel proud to have written the music. Go buy this and wear it out! For those of you new to Handel, it may be more fun than the Water Music.

Track Listings:

Track Listings

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