Nine cello sonatas by Vivaldi have survived. Six of them were published as a set in Paris in about 1740; that set, mistakenly known as the composer's Op. 14, contains the sonatas recorded in this release. The three remaining sonatas come from manuscript collections. All but one of the six works are cast in the slow-fast-slow-fast pattern of movements of the sonata da chiesa. The odd one out, RV46, in fact, retains the four movement sequence but inclines towards the sonata da camera in the use of dance titles. The music of these sonatas is almost consistently interesting, often reaching high points of expressive eloquence, as we find, for example, in the justifiably popular Sonata in E minor, RV40. Christophe Coin brings to life these details in the music with technical assurance and a spirit evidently responsive to its poetic content. Particularly affecting instances of this occur in the third movements of the A minor and the E minor Sonatas where Coin shapes each phrase, lovingly achieving at the same time a beautifully sustained cantabile.
The box contains all of the Bach recordings made by Christopher Hogwoood and the Academy of Ancient Music for the L'Oiseau Lyre label on Decca. The whole set is compact and takes up little room on a storage shelf. The spine measures just two and a quarter inches thick. The box is a clam shell box. Each album is contained in a card sleeve. And the front of each sleeve has the same picture as the outer box. The back of each sleeve has the information about the album content. The recordings are on period instruments and the sound is excellent.
This collection represents the full range of Vivaldi recordings Christopher made with the AAM, and includes L'Estro Armonico Op.3, La Stravaganza Op.4, and the violin concertos Opp. 6, 8, 9, 11, and 12; solo concertos for flute (op. 10), oboe, bassoon, and cello; and various concerti grossi. Also featured are the complete cello sonatas, along with the cantatas "Amor, hai vinto" and "Nulla in mundo pax sincera", and sacred vocal works Stabat Mater, Nisi Dominus and the enduringly popular Gloria.
According to Christopher Hogwood, in his marvelous biography of Handel, "In the winter of that year , Handel received what was for him an unusual commission. Although closely associated with the London theatre, he wrote very little incidental music for plays. A request from John Rich to provide airs and dances for Smollett's 'Alceste' was undertaken, according to Hawkins, in repayment of a debt to Rich."
Christopher Hogwood was one of the first pioneers to introduce historically informed performances in England in the 70', following Nikolaus Harnoncourt's revolution that took place in the late 50'. With the Academy of Ancient Music, he published hundreds of fine recordings from different composers, with a special focus on Vivaldi. Here he presents the famous Four Seasons. I find Hogwood's lecture of the 4 Seasons perfect.
For those who like their modernism light, buoyant, and lyrical, there's Bohuslav Martinu's prewar music. And for those who like their modernism big, bold yet still lyrical, there's Martinu's postwar music. On this 2007 Hyperion disc, the first of four devoted to the Czech composer's complete violin concertos, violinist Bohuslav Matousek with Christopher Hogwood and the Czech Philharmonic Orchestra present three wonderful works from both sides of the war: the Concerto for flute, violin, and orchestra from 1936 and the Duo concertante for two violins and orchestra from 1937 plus the Concerto in D major for two violins and orchestra from 1950.
In the second of four Hyperion discs dedicated to the works for violin and orchestra by Czech-French-American-Swiss composer Bohuslav Martinu, violinist Bohuslav Matousek with Christopher Hogwood and the Czech Philharmonic Orchestra join two of the composer's typically atypical works: the Concerto da camera for violin with string orchestra, piano and percussion and the Concerto for violin and piano with orchestra.
Christopher Hogwood has found himself a dream cast here, with even the smallest roles taken by big names. There are a couple of surprises along the way, such as the underage First Sailor (sung by a slightly quavery treble) and the cross-dressing Sorceress, here taken by a bass. Still David Thomas cackles and machinates with the best of them, so don't let that put you off.
For consistently amiable, if undemanding entertainment, Albinoni’s concertos, with or without oboe, or oboes, are hard to beat. Christopher Hogwood and the Academy of Ancient Music here perform the 12 concertos contained in the collection published in 1722 as the composer’s Op. 9.