The best thing about this CD of keyboard works from Spain and Central and South America is the warm, close sound, not what is normally heard from a harpsichord recording. It is as warm as the instrument's red and gold paintwork. The worst thing about the recording is the impression that there is little variation in tempo from work to work. The mix of pieces covers a wide period of time, stretching from the late Renaissance to the early Classical period. And the works are actually a mixture of tempo markings. What gives the impression of little difference, however, is Mario Videla's relatively strict, sometimes plodding, playing. There isn't enough of a difference between his Allegros and his Largos, and he seems to use ritards only at the very end of pieces, rarely using any kind of rubato to create interest within phrases.
Here comes from a guy nickname as "The Handel of Sweden". Johan Helmich Roman is Baroque composer born in Stockholm. He was a violinist and oboist. He was leading figure in Swedish Royal Orchestra back then in 1720s. His most famous work happened to be a wedding compilation called "Drottningholmsmusique" a large orchestral suite for the wedding of the Crown Prince Adolf Frederick of Sweden and Louisa Ulrika of Prussia. In this CD we found 12 flute sonatas for Basso Continuo, which replaced by harpsichord and cello. The form was most famous back then for flute enthusiast as they are simple. The pieces are somehow Handellian in spirit. This CD will enrich our experience and knowledge in Baroque flute repertoire. The whole CD is given performance by flutist Jed Wentz, who happened to be American flutist born in New Brighton PA. He is expert in Baroque repertoire.
Many people have accused the Maisky interpretation of the Bach Unaccompanied Cello Suites as "romanticized." I have just two words for Maisky's critics: "So What?". What truly matters is that Mischa Maisky is the most energetic and most original devotee of Bach. His version of the Bach Cello Suites is not only the best in the market today, but more importantly, demonstrates that music should be played by an artist, not for the sake of accuracy, but for the purpose of art and its resulting empathy which infuses the audience.
Very little is known about Charpentier's life (1643-1704). The main source of information is an obscure rival composer named de Brossard. According to de Brossard, Charpentier was originally from Paris but studied music in Rome under the composer Carissimi. In 1696 he beat out de Brossard for the post of choirmaster at the Sainte Chapelle Cathedral in Paris, where he remained until his death in 1704. As Goebels writes in the album liner notes, there are several reasons for Charpentier's neglect as a composer.
Tremendous new recordings of Baroque master Corelli's complete works, performed on period instruments. Corelli was a peer of and huge influence on Vivaldi, as well as the founder of modern violin technique; his work consists of six opus numbers comprising 72 works altogether. They are all written for string instruments only, mainly sonatas for orchestra or, in the case of Opus 6 , 12 concerti grossi that played a major role in establishing the form. Performed here by the Musica Amphion under the direction of harpsichordist/organist Pieter-Jan Belder.
Milhaud’s six little symphonies are brief, lighthearted experiments in sound combinations, and they are also very charming. These performances are delightful … precise, spirited, brilliant …
I don’t see how anyone could go wrong with these performances, which MDG captures in bright, characterful sound.