Luis Otavio Santos, the renowned Brazilian violinist, performs a set of compositions by Jean-Marie Leclair. This brilliant performance breathes new life into music composed by one of France's best loved instrumental composers.
Harmonia Mundi's Geminiani: Concerti Grossi VII-XII (after Corelli, Op. 5) is a single disc excerpted from a larger set issued in 1999 including all of Geminiani's concerti based on models of Corelli. That set was, and is, something of an expensive proposition, but certainly a first-class choice for the music of Geminiani, for the way the Academy of Ancient Music sounds under the direction of Andrew Manze and as representative of late English Baroque music as a whole. This disc is a single-disc condensation drawn from the earlier set that comes, as an added bonus, with a thick catalog of Harmonia Mundi's active releases, and the asking price is modest.
Mozart, who composed 21 piano concerti, can be regarded as the “inventor” of the popular piano concerto. Although J.S. Bach and his son had written numerous concerti for harpsichord or fortepiano and orchestra before him, Mozart’s enormous input to the genre is mostly due to his concerti being regarded as ‘popular music’ by his contemporaries: to be enjoyed and replaced quickly by newer works. For this series on four DVDs, the most influential, the most artistically challenging and the most popular piano concerti have been selected to be performed by the best Mozart interpreters of our time. The last volume features pianists Christian Zacharias, Malcolm Frager, Deszö Ránki and Aleksandar Madzar performing the piano concerti Nos. 5, 8, 17 & 27. The performances on this DVD were shot in highly attractive historical venues – at the Teatro Scientifico del Bibiena in Mantua, in the 18th century Schwetzingen Palace and in the Grosse Galerie at Schloss Schönbrunn in Vienna – capturing the atmosphere of Mozart’s lifetime.
Handel’s successful blend of new composition and arrangements of existing pieces in his Op. 4 organ concertos is winningly conveyed by this excellent recording. Van Asperen’s stylish playing and appropriate registration, aided by sensitive orchestral support, emphasise this music’s startling diversity. No. 1’s improvisatory organ solos; the expressive contrast between violin and cello concertino and organ in No. 3, and the enchanting atmosphere of the more delicately scored No. 6 are notable highlights.– Nicholas Rast, BBC Music Magazine
The Camerata Köln is a Cologne-based chamber ensemble devoted largely to early music, with a special focus on woodwind compositions. The group's repertory includes concertos, quartets, quintets, sonatas, and other works mainly from the post-Renaissance era and reaching into the Classical period. The group concertizes regularly in Germany and most parts of Europe and has made numerous tours of the Americas and other parts of the globe. By 2006, it had made well over 50 recordings…
CPO has yet again magnificently endorsed the modern musical world, adding two long-neglected gems from the late classical era to the recording catalogue. Here, in CPO's new release of Anton Eberl's two piano concertos, we have been given the privilege of listening to Eberl's formidable piano music, for which he was better known in his day. A fine pianist and composer of several operas, symphonies among other works, Eberl's piano playing had an unusual fire and facility. Best remembered as a composer for the keyboard than for his operas, he carved and shaped his music with confused modulations, while ……A most delectable recording!Luke Agati @ Amazon.com
George Frideric Handel (23 February 1685 – 14 April 1759) was a German-born British Baroque composer famous for his operas, oratorios, anthems and organ concertos. Born in a family indifferent to music, Handel received critical training in Halle, Hamburg and Italy before settling in London (1712) as a naturalized British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
…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.