Abstract
The seven CDs featured in this review were all issued between 2012 and 2016, and taken as a collection they form a wonderful representation of the diversity present in the performance of 18th-century music today.
In this clutch of recordings the duo La Tour offers an exploration of music from Louisbourg (‘the American Gibraltar’); Ensemble Barocco di Napoli presents a world premiere recording of Leonardo Leo’s recorder sonatas; Arte dei Suonatori, Cappella Academica Frankfurt and Ensemble Odyssee perform recorder concertos from Denmark and England; Michala Petri and Anthony Newman have created a new recording of the complete Telemann recorder sonatas; Marie-Céline Labbé and Marion Treupel-Franck delve into the French repertory for two transverse flutes; and last but by no means least Maurice Steger takes us on a journey to Naples around 1725.
In preparation for writing this review I spent a couple of months living with these recordings and absorbing the liner notes, thinking not only about issues such as intonation, ensemble and musical intention, but also considering how the research behind each CD was reflected in the finished product. Reviews by default are intensely subjective pieces of writing to a greater extent, an ineluctable truth which I have tried both to enjoy and combat by allowing an honest balance between my own taste and more technical ‘facts’ about each recording, attempting to fuse my own personal findings with useful information for readers.
In this clutch of recordings the duo La Tour offers an exploration of music from Louisbourg (‘the American Gibraltar’); Ensemble Barocco di Napoli presents a world premiere recording of Leonardo Leo’s recorder sonatas; Arte dei Suonatori, Cappella Academica Frankfurt and Ensemble Odyssee perform recorder concertos from Denmark and England; Michala Petri and Anthony Newman have created a new recording of the complete Telemann recorder sonatas; Marie-Céline Labbé and Marion Treupel-Franck delve into the French repertory for two transverse flutes; and last but by no means least Maurice Steger takes us on a journey to Naples around 1725.
In preparation for writing this review I spent a couple of months living with these recordings and absorbing the liner notes, thinking not only about issues such as intonation, ensemble and musical intention, but also considering how the research behind each CD was reflected in the finished product. Reviews by default are intensely subjective pieces of writing to a greater extent, an ineluctable truth which I have tried both to enjoy and combat by allowing an honest balance between my own taste and more technical ‘facts’ about each recording, attempting to fuse my own personal findings with useful information for readers.
| Original language | English |
|---|---|
| Pages (from-to) | 159–161 |
| Number of pages | 3 |
| Journal | Early Music |
| Volume | 45 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - Feb 2017 |
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