Jean-Joseph Cassanéa de Mondonville, violinist of the royal chapel and just a bit younger than Rameau, is one of those French composers of the late Baroque generally relegated to the summary paragraph in historical surveys. His music is not terribly common on recordings, and the Brilliant label's resurrection of this late-'90s recording on Archiv, despite dreadful sound, is welcome.
The "Concerto grosso" was eminently popular in Europe at the beginning of the 18th century, Arcangelo Corelli having set the trend with his Opus 6 published around 1710, but probably written much earlier. The main attraction seems to have been the possibilities opened up by having two groups of musicians in dialogue with one another.
Antonio Vivaldi was one of the most successful composers of the Baroque era, best known for his iconic set concertos for violin, The Four Seasons. L’Estro Armonico Op.3 is among the most important printed editions of Vivaldi’s concertos; the works immediately met with great acclaim after their publication in 1711, giving way to over 30 reprints in the subsequent 32 years.
Richter actually made a full set of recordings for Handel's Concerti Grossi. The Munich Bach Orchestra, who almost played exclusively for Richter, maintained its essential baroque flur throughout all the pieces, under the impeccable conducting of Richter. The different string sections played as if they were in a chorus, each minute part played in fully melodious and engaging manner, while the ensemble as a whole displayed all the required congeniality and harmoniousness essential of the baroque style. The rhythms are enlivened while contrasts striking, and you will seldom find Handel's works played in such grand style as did Richter and the Munich Bach Orchestra here. (Amazon.com)
Born in Toledo, Manuel Canales (1747-1786) moved to Madrid around 1770 and entered into the service of the Duke of Alba. A frequent visitor to the court of King Carlos III, he likely associated with his more famous contemporary, Luigi Boccherini, who was also in this flourishing cultural center at the same time. Canales' string quartets show a familiarity with his work, as well as with the early compositions of Haydn.
Originally published in London, these 3 quartets form the first half of Op.3. The only known chamber works of Canales, these compositions follow the usual four movement format, although they place the Minuet as the 2nd movement, instead of the more customary 3rd position.
The Trio Zimmermann’s previous release of Beethoven’s Trios received excellent reviews and won them the BBC Music Magazine’s Chamber Award in 2013. This next instalment shows us the ‘lighter’ side of Beethoven’s chamber works. The Trio in E flat major and Serenade in D major consist of sequences of six and eight movements respectively, with minuets and marches reminding us of courtly music from an earlier period. However, they are far from ‘old-fashioned’. The adventurous spirit of the young Beethoven is plain to hear, in the exceptionally creative use of textures, thematic development and formal innovation. In this music Beethoven gives each instrument an equal importance and a highly individual treatment. A first-class chamber ensemble is required to meet these demands and this is exactly what the Trio Zimmermann offer, comprised of three exceptional soloists.