A consummate artist whose approach to the cello was directed toward breathing life into the music, Paul Tortelier earned the respect and affection of countless colleagues. An enduring friendship with Pablo Casals found him playing, in the words of a French critic, Apollo to Casals' Jupiter. Like Casals, Tortelier emphasized using but one finger at a time on the string to allow free vibration. Fantasy and emotional freedom marked his performances and attracted numerous young players.
Though born in Italy, Luigi Boccherini was based for most of his life in Madrid, where he played the cello and wrote more than a hundred string quintets. They’re perfectly formed from the simplest chords, and not without their touches of profundity. The cello sonatas sound at times too much like performers’ music. The explanation lies in changing styles of string technique and the rise of the piano, though Anner Bylsma’s playing gives them a new lease of life.– Nicholas Williams
Das Ensemble L`Archibudelli um den Cellisten Anner Bylsma hat gemeinsam mit der wunderbaren Sopranistin Roberta Invernizzi die äußerst selten eingespielte Messe von Luigi Boccherini in einer fantastischen Einspielung neu aufgenommen. Trotz minimaler Bestzung ohne Chor und Bläser wird der Hörer von der Dramatik der einzelnen Sätze gefesselt. Rberta Invernizzi bringt mit klarer und feiner Stimme jede einzelne Wendung dieses interessanten Werkes voll zur Geltung und das Streicherensemble brilliert mit kraftvoll zupackendem Ton und wunderbaren langsamen Sätzen. Das Stabat Mater wird ergänzt durch die Streichquintette op. 42. Eine neue Referenzeinspielung der Vivarte- Reihe für alte Musik.
The music on this disc is surprisingly lovely and varied. I say surprisingly because the only other performance of the Boccherini I am familiar with, on Erato, is fairly staid, safe and dull. However, I shouldn't really be surprised as Boccherini is always rewarding in safe hands, and there aren't many safer than Robert King. On this recording, partly due to its sparse instrumentation, the Boccherini emerges as a sacred chamber opera, quite theatrical in parts, carrying echoes of Pergolesi's famous predecessor. The final "Quando corpus morientur" is filled with pathos, sadness and longing….