| “ | This is a very interesting and convenient set to own of Muzio Clementi's sonatas for piano and other instruments in contrast to his great sonatas for the piano alone! | ” |
| “ | Although known almost exclusively for his instrumental concertos and the spurious Adagio attributed to him, Tomaso Albinoni was mainly a man of the theater; he composed 81 operas and, late in life, made his living as a singing coach. However, the best efforts of posterity to catch up with Albinoni's operatic creations are significantly stymied by the fact that only three of his stage works are fully extant, the rest preserved only in occasional and fugitive fragments in the form of single arias and other bits and pieces. "Il Nascimento dell'Aurora" is a serenata -- or more specifically, a "festa pastorale" -- a kind of courtly entertainment not really meant to be specifically dramatic or compelling and, in this case, dealing with the birth of Roman goddess of the dawn, Aurora .... | ” |
| “ | Among the great instrumental composers who were active in Italy in the 18th century, Giuseppe Tartini (Pirano d’Istria, 1692 - Padova, 1770) is the one who most explicitly focussed his production on his own chosen instrument, the violin, neglecting genres that in his day were very popular. 135 violin concertos and about 200 sonatas for violin and basso continuo form, in fact, the main bulk of his output. The Arte dell’Arco ensemble, who have met with great success with this series, measure themselves once again with Tartini’s beautiful and difficult concertos, all works recorded here for the first time. | ” |
| “ | We still know little about the biographical details of the violinist and composer Antonio Lolli, one of the most extraordinary itinerant virtuosi of the eighteenth century. Active from 1758 at the court of Stuttgart, Lolli became famous through his concert tours in Europe, whose excessive frequency led to his dismissal from the German court in 1774. In 1785 he performed in London, then he moved to Vienna, to Naples and in 1796 he finally settled in Palermo, where he died in poverty having gambled away most of the fortune he had accumulated through his activity as a soloist. | ” |
| “ | Frattamaggiore, 31 March 1684; d Naples, 30 Sept 1755). Italian composer. A pupil of his uncle in Naples, he also spent time in Rome and probably abroad before working as primo maestro at the Naples conservatory Poveri di Gesù Cristo, 1728-39. From 1742 he was primo maestro at's Maria di Loreto, the largest Neapolitan conservatory, and from 1745 also at StOnofrio. He was venerated as the finest composition teacher in Naples; among his pupils were Pergolesi, Anfossi and Piccinni. | ” |
| “ | (b S Maria, 1663-4; d Paris, 24 April 1760). Italian composer. After travelling through Europe as a violinist, he won great popularity in Paris. A figurehead of Italian instrumental music there, he published 100 violin sonatas and 16 other works, 1704-38, in a Corellian style modified with French features. | ” |
| “ | Discovered by Michael Talbot in 1973, the 12 sonatas of the Manchester manuscript are generally considered the high point of the composer's chamber music. They are performed here by Fabio Biondi, one of the most authoritative Vivaldi performers. | ” |
| “ | Among the great instrumental composers who were active in Italy in the 18th century, Giuseppe Tartini (Pirano d’Istria, 1692 - Padova, 1770) is the one who most explicitly focussed his production on his own chosen instrument, the violin, neglecting genres that in his day were very popular. 135 violin concertos and about 200 sonatas for violin and basso continuo form, in fact, the main bulk of his output. The Arte dell’Arco ensemble, who have met with great success with this series, measure themselves once again with Tartini’s beautiful and difficult concertos, all works recorded here for the first time. | ” |
| “ | "The Gramophone Database has seldom been without a decent recording of these ceaselessly fascinating concertos, though none begins to approach this new version in respect of fantasy and exuberance...this new two-CD issue has restored my faith in [Europa Galante's] ability to bring something entirely fresh and vital to oft-performed repertoire, illuminating well-trodden paths with affective articulation and eloquently voiced inflexions...immensely satisfying." -NA, Gramophone | ” |
| “ | Georg Philipp Telemann (March 14, 1681 – June 25, 1767) was a German Baroque music composer and multi-instrumentalist, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. Often described as the most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. | ” |
| “ | Scarlatti's music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Rome, and the classical school of the 18th century, which culminated in Mozart. | ” |
| “ | These days Salieri's fame was an alleged protagonist in Mozart's life or rather death exceeds that of his music by far. Very few people though will be able to say truthfully they know a piece by this composer. Who, by the way, was Beethoven's teacher! The Italian Wind Ensemble has chosen to record the lesser-known of the two extant versions of Salieri's Cassazione. They have added the very deep sound of a double bassoon to the already uncommon combination of 2 oboes, 2 English horns, 2 horns and 2 bassoons. This will be a most pleasant (re)introduction to the composer. | ” |
| “ | In the early sixties the clarinettist Dieter Klöcker founded the CONSORTIUM CLASSICUM - a German chambermusic ensemble - which not only cultivated the standard repertory, but also brought back to life rediscovered musical masterworks. The instrumentation of these works include wind instruments only as well as the combination of woodwinds and strings up to a nonette. The members of the Ensemble are all solists, professors from music academies and leaders from first class orchestras, who uphold the Ensemble´s concept in a very individual and consistent manner. International appearances in concerts, honorable awards and invitations to famous festivals - including the Salzburg Festival, the Vienna Festival and the Berlin festival etc. - as well as numerous records, radio and TV productions, all go to confirm the extraordinary status of this unique ensemble. | ” |
| “ | All three of these pieces deserve wider circulation than they have yet had. Pace Dr. Thayer, these works are most definitely alive. All three are persuasively performed on this CD, which can be recommended unreservedly. Klцcker, Fromm and Duis are all highly accomplished; the interplay between them is a delight. This is a CD to which I shall return many times. Glyn Pursglove Read more. | ” |
| “ | Luigi Boccherini was born in the Italian city of Lucca, the birthplace of Geminiani, Catalani and Puccini. Like his feIIow composer and compatriot Geminiani, he left Italy after his studies as there was little interest in purely instrumental music. Boccherini traveIIed to Madrid to pursue his career as a virtuoso ceIIist. His reputation was soon to rival that of Haydn (with whom he was on friendly terms with) and Mozart, and he composed a large quantity of symphonies, concertos, quartets, trios and sonatas. The string quintet was a medium he made his own, and influenced the young Mozart. | ” |
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