…Even if you have other recordings of Op.4, including the beautifully restored Chorzempa/Schroeder set, this winningly idiomatic and novel account is highly desirable, in both the loving musicianship and its glowing sonic portrait.
This six-CD box set brings together four major concerto sets composed including the most famous Il Cimento dell'Armonia e l'Invenzione awarded pride of place.
The eminently reliable Academy of Ancient Music play their period instruments with consummate zest under their charismatic conductor Christopher Hogwood and these sets date back to the early digital cum late analogue days when the fabled 'L'Oiseau-Lyre' label still produced those lavishly packaged boxes with their distinctive white covers and the wonderful paintings.
Corelli's Op. 5 Violin Sonatas have always been admired by chamber music fans; there are a couple of good recordings of them already available. But this new one by Baroque specialist and virtuoso Andrew Manze and harpsichordist Richard Egarr presents the sonatas in such a bright, exciting, and improvisatory light that they seem brand new. During the composer's lifetime, these sonatas were widely played and tremendously influential; there's a good chance that it was assumed that virtuosi took what was written on the page as a starting point for embellishing and sheer showing off.
Midem Classique Award winner Christian Zacharias continues his survey of Mozart Piano Concertos as both performer & conductor. Featuring arguably 1 of the most famous, the A Major. MDG’s complete recording of Mozart’s piano compositions with Christian Zacharias in the double role as pianist & conductor of the Lausanne Chamber Orchestra continues with KV 488, certainly the most-performed piano concerto by the great Salzburg composer, complemented here by KV 246 & KV 175, Mozart’s very 1st piano concerto.
Even though Franz Joseph Haydn is widely credited as the father of the string quartet, the Casal Quartet makes a startling claim that the honor may belong to Franz Xaver Richter, whose seven String Quartets, Op. 5, seem to have determined the character of the genre, from their first performance by Carl Ditters von Dittersdorf's quartet in 1757. Richter's quartets preceded Haydn's and Boccherini's earliest efforts by several years, suggesting that they were likely influential. Furthermore, the sophistication and polish of his Op. 5 suggests that he may well have composed other such quartets, though if he did, they are lost.