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Small Ensembles - Click on Thumbnail for an MP3 Sample |
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KHCD-2010-028
CD $12.00  |
KHCD-2010-028 (STEREO) - An 18th Century Concert - Works by JC Bach, JS Bach, Quantz, Telemann and Vivaldi - The London Harpsichord Ensemble - The London Harpsichord Ensemble recorded very few LPs during their first incarnation, although they had quite a good reputation as a performing ensemble (as they still do today, with Sarah Francis as leader, daughter of Millicent Silver, the harpsichordist on this CD). This recording was taped in 1961 by PYE, and issued in the USA on Nonesuch as one of the first 20 albums offered by that label. It was soon deleted from the catalogue. The works on the disc include JC Bach's Concerto in E-flat for Harpsichord, Two Violins and 'Cello, JS Bach's Trio in G for Flute, Violin and Continuo, Quantz's Trio in D for Flute, Violin and Continuo, Telemann's Trio in E-flat for Two Violins and Continuo, and Vivaldi's Concerto in a minor for Flute, Two Violins and Continuo. It is my pleasure to offer it on this site so it may be once again enjoyed. Stylish, lively and wonderfully played, this would be a great intro disc for anyone building a core music collection. For more information on The London Harpsichord Ensemble, click here: www.sarahfrancisoboe.co.uk
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KHCD-2010-029 (STEREO) - Music of the French Baroque: Monteclair; Cantata Le Retour de La Paix; Corrette: Concerto for Flute in G, Op. 3 No. 6: Leclair: Sonata for String Orchestra in g minor; Boismortier: Concerto for Bassoon in D - Chamber Orchestra of Versailles/Bernard Wahl - Collectors of Baroque music will relish this collection. Monteclair's Cantata, for solo soprano, trumpet and orchestra, presumably written for an actual (unknown) peacetime celebration, is in the style precieux in favor at the time of its publication in 1716. Corrette's Flute concerto is Italian-flavored, with a French-ornamented middle Adagio. Leclair's Sonata (sinfonia) is a late Baroque work, more harmonically complex than Corelli and Vivaldi. Boismortier's Basson Concerto is in the Italian syle, again, as the Corrette, with a very French Largo of graciousness and harmonic complexity. Quite enjoyable! |
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CMAS-002
CD $12.00 |
CMAS-002 (STEREO) - A Baroque Christmas Pastorale: Music of Corelli, Manfredini, Pez, and Tartini - Collegium Aurem on original instruments - The four compositions played by the Collegium Aurem on this recording owe their existence to the Italian tradition of performing instrumental music in conjunction with the Mass, and are examples of the sort of music heard at Christmas time. All of these pieces emphasize the role of the shepherds in the story of the Nativity. This CD is derived from a Harmonia Mundi disc from 1966, recorded at Cedernsaal Schloss Kirchhiem, and performed on original instruments. A beautifully-played disc that will bring joy at any time of year. |
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KHCD-2010-038 (STEREO) - Telemann: Sonatas in f minor & b minor for Flute and Continuo/Trio Sonata in B-flat for Flute and Harpsichord/Concerto No. 1 in D for Flute and Harpsichord - Jean-Pierre Rampal, flute/Robert Veyron-Lacroix, harpsichord - The four compositions on this CD are, in the Baroque tradition, widely different in style and effect. They range from the most intimate entertainment music to concerto-like textures. And , as is the case with many Baroque pieces, the scoring allows for any combination of instruments to play. In the instance of the Sonata in f minor, it was originally written for bassoon. The Sonata in b minor was part of a subscription series published in 1733; GF Handel was one of the subscribers, and actually borrowed the two outer movements and used them in his Organ Concerto in d minor. The Trio Sonata allows for the solo keyboard to incorporate the cello/gamba continuo part into the setting. And, finally, the Concerto actually is an original Concerto for flute and harpsichord, but offering the possibility of many combinations of other instruments; this recording offers the original setting. Jean-Pierre Rampal and Robert Veyron-Lacroix join to provide an intimate, exciting performance. An excellent- condition Nonesuch LP was the source for this delightful disc. |
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KHCD-2010-039 (MONO) - Schubert: Quintet in C, Op. 163 - Vienna Konzerthaus Quartet-Günther Weiss, 2nd 'cello - Schubert's only String Quintet was written in 1828, the year of the composer's death. As is the case with the Eighth and Ninth Symphonies, it was rediscovered many years later. Its shadowy, romantic atmosphere is emphasized by the choice of two 'celli. This disc, derived from a red label Westminster LP, displays the virtuoso abilities of the Vienna Konzerthaus Quartet, with Günther Weiss playing second 'cello. The sound is full and spacious, the performance satisfying, and would be a fine addition to any chamber ensemble CD collection. |
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KHCD-2010-048 - (MONO) - Schubert: String Quartet No. 14 in d minor, D810 "Death and the Maiden" - Vienna Konzerthaus Quartet - Quintet in A for Piano and Strings, D677 "Trout" - Paul Badura-Skoda, piano, with members of the Vienna Konzerthaus Quartet and Joseph Hermann, double bass - In 1823, Schubert suffered a serious illness which hospitalized him for a time, and which continued to plague him for the remaining six years of his tragically short life. This illness also influenced his general attitude toward life, and was in such a state of mind when he began work on his d minor String Quartet; it was not completed until two years later. The Quintet was a written on commission from Sylvester Paumgartner, music lover and amateur 'cellist, who was specific regarding the commission itself; the piece must include the tune "Die Forelle", written by Schubert two years before, as the basis for a variations movement, and the instrumentation must follow the model of a recently published quintet by Hummel. Both of these works receive committed performances, derived from two LPs, the Quartet as Vol. 7 in the complete Schubert Chamber Music on a blue label XWN-series Westminster disc, and the Quintet on an earlier red label WL-series Westminster disc. All were well-recorded in wide-range mono and restorations resulted in a very enjoyable transfer. |
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KHCD-2010-055 (STEREO) - Vivaldi: Eight Concerti for Diverse Instruments - Chamber Orchestra of The Saar/Karl Ristenpart - Karl Ristenpart and his Saar Chamber Orchestra shine in this stellar collection of concerti for diverse instruments, including combinations of oboe and violin, viola d'amore and guitar, bassoon, 2 and 3 violins, and the Ripieno Concerto for Strings in A, an early precursor to the classical symphony. An outstanding transfer combining recordings from 2 Nonesuch discs, one having never been opened, the other in good condition. The recordings on this CD, requested by several Klassic Haus customers, were a joy to transfer, and this reissue is a great addition to any collection of Baroque recordings, as well as fans of Karl Ristenpart. |
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KHCD-2011-021 (STEREO) - Dvorák: Serenade in E for Strings, Op. 22 - Czech Chamber Orchestra/Joseph Vlach; Serenade in d minor for Winds, 'cello, and Bass - Prague Chamber Harmony/Martin Turnovsky- Nearly all of Dvorák' artistic traits are evident in these wonderful Serenades. The features that he took from the Czech folk song and which gave his music its decided Slavonic flavor are mixed within each movement. And, as a melodist, Dvorák is unsurpassed. Both of these Serenades are played with the special stylistic flair and timbre that only Czech ensembles can produce. Transcribed from a domestic Crossroads LP, licensed to Epic/Columbia by Supraphon. See also in Wind Ensembles
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KHCD-2011-034 (STEREO) - The Art of The Baroque Trumpet - Works by Torelli, Franceschini, Charpentier, Altenburg, Fasch, Handel and anon. - Edward Tarr/Consortium Musicum/Fritz Lehann - No musical instrument has undergone more radical changes since the Baroque era than the trumpet. The valved instrument with which we are familiar has a total length somewhat over three feet. The Baroque instruments featured on this disc are valveless and have a total length of about seven feet. On a valveless brass instrument it is possible by lip tension alone to produce a series of tones in a fixed relationship to one another. Only in the fourth octave of this harmonic series do they lie in intervals of a second; and only in this highest register can diatonic melodies be produced on the Baroque trumpet. This transcription, from a Nonesuch LP released in 1969, was one of the first to feature reconstructions of Baroque trumpets. The works of Franceschini, Charpentier, the anonymous German fanfares and the Altenburg chorale setting were recorded using long Baroque trumpets. The Italian sonatinas and the Altenburg concerto were recorded on "Jägertrompeten" (hunter's trumpets in coiled form). The Torelli, Fasch, and Handel works were played on modern high valved trumpets. A listing of personnel in the recording is included on the back cover of the CD. An exhilarating collection, worthy of reissue. |
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KHCD-2012-034
CD $12.00
320kbps MP3 Download
$5.00
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KHCD-2012-034 (STEREO) - Rossini: String Sonatas: No. 1 in G; No. 5 in E-flat; No. 6 in D - Toulouse Chamber Orchestra/Louis Auriacombe - Youthful works of great melodic invention and joy, played with precision and lilt by the Toulouse Chamber Orchestra. Transcribed from a factory-sealed Nonesuch disc. |
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KHCD-2012-038
CD $12.00
320kbps MP3 Download
$5.00
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KHCD-2012-038 (STEREO) - Bliss: Clarinet Quintet - Oboe Quintet -The Melos Ensemble of London - Gervase de Peyer, clarinet; Peter Graeme, oboe - These two exquisite chamber pieces by Bliss were originally written for clarinetist Frederick Thurston and oboist Leon Goossens. Even more fortunate is the pairing in this early 60s recording of the extraordinary clarinetist Gervase de Peyer, and former student of Goossens, oboist Peter Graeme. Virtuosity in the many aspects of both compositions (phrasing, articulation, breath control) is handled singly and collectively with aplomb and great beauty. Bliss’s vitality, charm, and lyricism abound in both pieces, and the soloists are most ably supported by their string colleagues in the Melos Ensemble. The recording itself is quite good; close balances typical of early 60s stereo do not deter from the proceedings. An intimate atmosphere of heady music-making prevails throughout. Thanks to John Whitmore for the transcription of the World Record Club LP. |
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