A great album recorded in 1963 for Atlantic – one of our favorite ever! Jack Wilson's one of our favorite piano players, and we rave about him all the time on these pages – and one of the reasons why we love him so much is that he was often accompanied by Roy Ayers, who started out his career playing vibes in his group! The pair together are a dream, and this album is arguably their best effort – filled with moody modal cuts, and lots of lyrical interplay that hits these beautiful high points, then dives into pits of darkness. Titles include "Harbor Freeway", "De Critifeux", "Corcovado", "Jackleg", and "Nirvana & Dana".
The popular Orchestra of the Age of Enlightenment presents a fantastic and exuberantly played selection of Vivaldi. Named a ‘Choice' recording by Gramophone upon release, the OAE joyfully celebrate some of Vivaldi's finest instrumental writing. The soloists are drawn from within the distinguished ranks of the OAE including Anthony Robson (oboe), Andrew Clark (horn), Roger Montgomery (horn), David Watkin (cello), Lisa Beznosiuk (flute), Elizabeth Kenny (lute) and Catherine Mackintosh (viola). The concertos assembled on this disc afford the listener a glimpse of Vivaldi's originality, not only as a sensitive colourist and master of form, but also as a felicitous melodist whose harmonies and phraseology are charged with heady atmosphere. The dancing rhythms and distinctive characters of these concerti together with the variety of instrumental combinations and sparkling performances make this a fresh and constantly engaging listen.
Handel's Concerti Grossi opus 6 must surely be ranked as some of the greatest orchestral music ever composed. Probably penned in or around 1739, the pieces were developed to serve as orchestral "interludes" for other operatic or oratorio performances. To listen to them, however, is to tempt us not believe that this could possibly be the case: the Concerti Grossi opus 6 works are without doubt among the pinnacle of Baroque composition. After listening to these, we are left with a distinct sadness that Handel did not turn his attention more to this genre, as his masterful treatment in the opus 6 shows us his true genius.
Someone ought to get some t-shirts made that say "Vivaldi rocks!" At least that partly accounts for his popularity in the twenty first century; among the old masters, Antonio Vivaldi's sense of rhythmic dynamics and the gale-like force of many of his string concertos are close enough to the ever-enervating pulse of pop music that he has found an unlikely audience among younger listeners. Andrea Marcon and the Venice Baroque Orchestra's disc Vivaldi: Concerti & Sinfonie per Archi delivers these very kinds of goods, and will prove pleasing to Vivaldi fanciers of the younger set.
As in the successful volumes 1-3 this is a very exciting recording, featuring the bassoon as you never heard before! The 54th release in the Vivaldi Edition features a selection of the finest works for bassoon ever composed, regardless of the instrument, this is a complete view of Vivaldi’s universe, performed by a true genius of baroque music. With each CD Azzolini proves himself to be an artist of endless immagination and virtuosity. With each new recording he surpasses the one before.
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian musician. His published compositions consist of preludes, fugues and sonatas for the piano and organ, string quartets, etc.; but the greater proportion of his works, vocal and instrumental, exists only in manuscript. They are in the library of the Vienna Gesellschaft der Musikfreunde. Around 1765, he wrote at least seven concerti for jaw harp and strings (three survive in the Hungarian National Library in Budapest). They are pleasant, well written works in the galant style. One of his most notable works is his concerto for Alto Trombone and Orchestra in B♭ Major. As the trombone has few works dating back to the classical period, his concerto is often highlighted by the trombone community…
…I Solisti Italiani continues, both spiritually and sonically, where the original Virtuosi di Roma left off, with creamy, expert, middle-of-the-road performances of Baroque and Classical period music, and occasional 20th-century pieces as well. The ensemble is small - only 12 players, without conductor - but the sound is full and caloric, the playing dapper and disciplined.