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.
In terms of their reputations, it is the misfortune of both Albinoni and Telemann that they shared their time and space with Vivaldi and Bach - respectively, the nonpareils of Venetian Baroque and Baroque everywhere else. Nonetheless, these oboe concerti of Albinoni testify to the considerable talents of the Red Priest's contemporaries. Three of the four concerti that begin CD1 (those in d, C and g) are probably the equals of anything that Vivaldi wrote for this instrument. They show the 51 year old composer (former dilettante now turned professional) at the height of his powers. Telemann's works on these discs, meanwhile - and especially the wonderful Sonata in g from 'Tafelmusik III' - show him at his most inspired…By Jon Chambers (Birmingham, England)
Giovanni Battista Buonamente (ca. 1595 – 1642) was an Italian composer and violinist in the early Baroque era. He served the Gonzagas in Mantua until about 1622, and from about 1626 to 1630 served the Holy Roman Emperor Ferdinand II, Holy Roman Emperor in Vienna. Notably, in 1627 he played for the coronation festivities in Prague of Ferdinand III, son of the emperor. He then served as the violinist of Madonna della Steccata church in Parma. After a short service there, he arrived at his final position in 1633 of maestro di cappella at Assisi.
Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972. Since 1971 he has taught Baroque violin at the Royal Conservatory of The Hague and the Koninklijk Muziekconservatorium in Brussels. He is noted for using the older technique of resting the violin on the shoulder without a shoulder rest, rather than held under the chin. He is a member of the Kuijken String Quartet, which he formed in 1986. In recent years, he has also performed as conductor of symphonies of the Romantic era…wiki
It's a wonderful treat to find an album whose interest rests equally on its musical as well as historical merits. As such, the present two-disc sets of the complete Rachmaninoff concertos and Paganini Rhapsody cannot be beat. The three pianists heard here – Richter, Zak, and Oborin – represent the pinnacle of postwar Russian pianists. Richter is most likely the one still known to the majority of American listeners. But Zak (who was immensely influential not only as a performer but as a pedagogue) and Oborin (who was the first winner of the Chopin Competition) were recognized equally during their lifetimes. All three had a profound and obvious command of Rachmaninoff, and the performances heard here clearly demonstrate this fact.
It is good to note the present resurgence of interest in Frank Martin on record, and to welcome this premiere recording of the Piano Concerto No. 1 of 1933-4. Martin was already in his early forties by the time he came to write his First Concerto and it bears many of the fingerprints one recognizes from such mature works as the Petite symphonie concertante and the Concerto for seven wind instruments. Gieseking, who gave the first performance with Ansermet and the Suisse Romance, appears not to have given a particularly convincing account of the solo part, but the work …..Robert Layton @ Gramophone.co.uk