Boccherini’s guitar quintets are arrangements prepared from material originally used in a cycle of piano quintets, written in Madrid during the final years of the eighteenth century. Although Boccherini received support from then French ambassador Lucien Bonaparte, contemporary reports suggest that the years prior to his death in 1805 were spent in abject poverty. Nevertheless, he remained as musically productive as ever, and the works recorded here are typically fresh and inventive.

“One of the most important advantages that the Luxembourg citizen has when abroad is that linguistically and culturally we embrace both the German and the French cultures...This gives a Luxemburger, particularly one active in the arts or the cultural environment, a different outlook and approach,” suggested Luxembourg composer Alexander Müllenbach in an interview. Perhaps it is this different perspective, the quite individual, open approach, that Françoise Groben herself had, a quality that she brought to her performance of German and French compositions for the cello. And it is for that reason that Banque Générale de Luxembourg placed at her disposal an exquisite instrument built by Matteo Goffriller in 1695.

Françoise Groben was born in Luxembourg on December 4, 1965. She received her first lessons in the cello at the age of five at the city’s Conservatoire, studying there with Francine Weber-Deprelle, Jean Join und Georges Mallach. She eventually completed her studies with Boris Pergamenschikov at the Cologne Musikhochschule, graduating in her concert examination, while continuing to attend master classes given by such artists as Daniil Shafran in Moscow or William Pleeth in London, or by the Amadeus Quartet. From 1974 onwards she was a member of the ensemble Les Musiciens founded by her father, Joseph Groben, and was only 15 when she first played in the Youth Orchestra of the European Union, going on to perform under such conductors as Claudio Abbado, Daniel Barenboim, Herbert von Karajan and Georg Solti. The recordings collected here illustrate the entire spectrum of Françoise Groben’s artistic interests, demonstrating that she was not only a leading soloist but also a gifted and coveted chamber musician who regularly included pieces by Luxembourg composers in her programs and was strongly committed to contemporary female composers.

The album Musical Landscapes contains a carefully thought over and set together group of eight compositions. The latter are formative of a specific music journey that spreads out from north to south and from west to east. This journey integrates diversity and beauty of art experience: from musical subtleties through grandeur of sounds, up to Spanish guitar temperament, from raindrops to storms with hailstones, from corta figure to sonorism. The selected compositions are, on one part, the most prominent works of world music in new arrangements and, on the other, the rarely performed pieces that were originally composed for the four-guitar ensemble. The presented transcriptions, full of the four musicians’ creative solutions and conceptions make up a new repertoire characteristic of fairly individual and authorial traits. The keynote of the project is the landscape conceived of in variety of manners.

Raphaël Feye and the Karski Quartet have collaborated on an exhilarating new album, paying a tribute to Luigi Boccherini's string quintets. These selected quintets showcase the composers exceptional ability to craft melodies that are both elegant and emotionally resonant while maintaining a graceful interplay between the instruments. To enhance the recording's excitement, the musicians decided to vary the distribution of the parts, ensuring each piece possesses a unique and distinct character.

When Capriccio started out in 1982, still producing LPs and tapes, it was the first digital Beethoven Symphony cycle with the Dresden Philharmonic and Herbert Kegel that first turned heads. Several other key projects were pivotal to the label quickly establishing a reputation as a source of quality music and performances. Foremost among them, never out of the catalogue and still loved today, are the recordings with Sandor Végh. Then, in the mid-nineties those of Sir Neville Marriner’s, who, after long being synonymous with the Philips label, recorded widely for Capriccio, both with his Academy Of St Martin in the Fields and the Stuttgart Radio Symphony Orchestra. Contemporaries of Mozart’s that have emerged on Capriccio include Joseph Martin Kraus, François-Joseph Gossec, and Jan Ladislav Dussek. They are performed by early music and classical period Capriccio-favorites such as Concerto Köln or the CPE Bach Chamber Orchestra. This box set features the label’s most important ensembles, orchestras, and conductors, from the classical period to the 20th century, when, in 2005, Capriccio released the first complete Shostakovich Cycle with the Gürzenich Orchestra and Dmitrji Kitajenko.

The start of a major new series on Brilliant Classics – historically informed accounts of the violin sonatas by a Classical-era master of Rococo charm and invention.

Luigi Boccherini, still in his mid-20s, dedicated his Op. 5 violin sonatas to the Parisian keyboard soloist Mme. Brillon de Jouy. As a result, the keyboard is more than an equal partner with the most showy writing, in the style of the sonatas ‘for piano and violin’ by both Mozart and Beethoven. Boccherini himself thought well enough of these works to draw from them many times throughout his career. Movements from these sonatas appear in reworked guises in other chamber works and symphonies.

The other sonatas here came into being later in Boccherini’s career as arrangements of other works by Boccherini made by publishers eager to capitalise on the fame and industry of a composer renowned throughout Europe for his attractive melodic fluency Several of them are transcriptions of his cello sonatas, though whether the arrangements were made by the composer himself remains a mystery. Other sonatas were skilfully put together from his many string quintets; they made Boccherini’s music accessible to those who could not perform the ensemble works in their original versions. Brilliant Classics has produced the largest ever collection of Boccherini’s works on record with its 37CD edition, which won stunning reviews in the international press. This new set of violin sonatas becomes a vital addition to the Boccherini library of collectors. Each new album by the period-instrument violinist Igor Ruhadze has likewise attracted critical praise, not least in his regular partnership with the Russian-born pianist and harpsichordist Alexandra Nepomnyashchaya. Their recording of F.Geminiani Violin Sonatas op.1 received warm critical praise.

REVIEWS:

The Six Sonatas Op. 5 for harpsichord with violin accompaniment, published in Paris in 1768, constitute the only authentic examples intended by Boccherini for this instrumental combination. The keyboard style, highly idiomatic with its scales, triplets and broken octaves, the pre-Romantic atmosphere of the slow movements as well as the quality of the melodic and rhythmic elements, excited Europe. If Boccherini did not entrust anything else to this instrumental combination, then editors remedied this by generating several transcriptions. It is this unprecedented wealth that Brilliant intends to explore here – other volumes are expected.

The pianoforte of Alexandra Nepomnyaschchaya does not dethrone, in Opus 5, that of Franco Angeleri (Tactus, 1990) who followed the autograph manuscript of Parma in the company of Enrico Gatti. The chiseled refinement like the incisive dynamic of the touch, the expressive restraint of the violin expressed in the two Italians an unequaled feeling and sharing. Among the newcomers, the seduction is more demonstrative, the contrasts more accentuated, the sensuality and the feeling more showy, as in the Allegro maestoso of No. 6 or the Allegro molto of No. 5. Above all, the Andante of No. 4, just whispered by Angeleri and Gatti, gains an indescribable beauty.

The movements of trios, quartets and quintets reduced by Mlle. Le Jeune (Vénier, Paris, 1782) are a happy surprise. The distribution of voices is skillful. The infinite delicacy of the Andante sostenuto of Sonata G 51 is truly worthy of Boccherini. Certainly, the Amoroso of the G 52 and the Allegro con spirito of the G 53 have charm. No repeat being forgotten, some movements seem a little long. Sometimes a simple foil to the pianoforte, Igor Ruhadze takes his revenge in the Six Sonatas for violin and basso continuo (La Chevardière, Paris, 1775). The Sonatas for cello and basso continuo G 20 are the most emblematic of Boccherini. It is magnificent in places (Largo de la no 5) but above all exotic (no 6, after the famous G 4). The violin, with sober and clear diction, is supported by a balanced bass entrusted to the cello continuo and the harpsichord. Looking forward to the sequel!

-- Diapason

Rupert Boyd writes: “This is an album of love. But also of despair. And some things in between. Largely conceived, arranged, rehearsed and recorded during the Covid-19 pandemic, Songs of Love & Despair contains the music that we were drawn to during this time -- a time of unprecedented stillness and solitude, traveling at most a few miles from our home for months on end. As a married couple we were fortunate to be able to play music together every day, and this collection of repertoire is half love, half longing; from the delicate beauty of Debussy and the joyousness of Boccherini, to the anguish of Messiaen and heartbreaking Appalachian folk songs, which tell the stories of love, life and loss. The album is a testament to this time, and we welcome you to join us as we traverse the emotions that have enveloped us all.” The album encompasses music from Luigi Boccherini to The Beatles to Beyoncé, from Franz Schubert to Florence B. Price to Radiohead.

REVIEW:

Guitarist Rupert Boyd and his wife, cellist Laura Metcalf, have released their second recording and it includes transcriptions of well-known pieces such as Debussy’s ‘Arabesque No. 1’ with delicately articulated arpeggios by the guitar providing a graceful accompaniment to the lyrical cello melody. Schubert’s ‘Gretchen am Spinnrade’ is delivered fluidly with deep romantic passion in an arrangement by Napoleon Coste (1805–83).

‘A New York Minute’ by Marian Budos, is bursting with energy and close coordination between the two players. Metcalf’s sense of drama and razor-sharp intonation combine to achieve a powerful delivery.

Two arrangements by Lennon and McCartney are pleasantly performed and would be crowd pleasers in concert.

The recorded tone of each of the two instruments is realistic, but the cello is somewhat overpowering on some tracks.

Liner notes are informative and entertaining. All in all, this is an effective project, mixing known works with the new ones—always a plus!

-- American Record Guide (Jim McCutchen)

Among the motivations of this disc, the most important one is the wish to present the various styles and periods in a clear, simple way, endeavoring to avoid superabundance and the accumulation of crossover deposits that are often heard where it seems that the music of the past cannot be self-sufficient and needs an extra chromatic and rhythmic shove in order to catch the listeners’ attention, inducing them to compare it with the commercial, repetitive entertainment repertoire. In this musical journey between Italy and Spain of the Baroque era, Paolo Rigano on the archlute and baroque guitar and Cinzia Guarino on the harpsichord are interpreting a singular anthology of pieces enriching the playing through the practice of the basso continuo that marked the entire musical period from the Renaissance to the late Baroque.