…This is another winner for MDG in the sound department. There is a palpable sense of “place”, of being somewhere specific, conveyed by the 2+2+2 sound; it is suitably reverberant but not overwhelming. The piano is realistically distant (no under-the-lid clarity here), and its bass register is rich and strong. But the cornet/trumpet is the star of the show, and Mr. Bauer’s golden tone blooms beautifully in the ample recorded space, wherever that is. A superbly planned and executed recital in perfect sound. What more could you want?
Cet ouvrage est à la fois un livre d'autoperfectionnement et un manuel de référence. L'étudiant travaillant seul y trouvera une aide précieuse pour déceler et corriger ses faiblesses en anglais. Il pourra tester systématiquement ses connaissances, les compléter et les affiner.
De conception tout à fait originale, l'ouvrage s'articule en trois parties …
Handel composed his chamber duets and trios – nine of them presented here – at various times in his career: some during his crucial period in Italy, when he imbibed the latest Italian style at its source (1707-9); some during his period in Hanover (1710-12); and some during his London years (in 1720, then again in 1740-5). Their demands are often virtuosic: here sopranos Roberta Invernizzi and Silvia Frigato share the honours with tenor Krystian Adam and baritone Thomas Bauer, and they are all up to the pieces’ demands, even if occasionally, when the semiquavers come thick and fast, the result feels a little dogged.