Nothing contrasts Haydn’s music with that of his contemporary and friend Mozart like their keyboard concertos. Haydn wrote some 14 concertos to Mozart’s 27, and many of these were as capable of being played on the organ or harpsichord as on the fortepiano. Admittedly the early Mozart concertos also lend themselves to the harpsichord – I have a recording of no. 9, the “Jeunehomme”, on that instrument. But Mozart’s mature concertos are inseparable from the dynamic contrasts of the fortepiano. He, far more than Haydn, grasped the potential for dramatic and intimate dialogue between soloist and orchestra. The result is that, while Mozart’s concertos are central to his evolution as a composer, the same cannot be said of those by Haydn.

The Haydn keyboard concertos are nevertheless worth getting to know. The two earliest examples on this recording date from 1770-71, and are pleasant works in the Galant style. The last, no. 11 in D major, has been dated to 1779-80, and is much more in the style of the Classical concerto. For most people this work is “The Haydn keyboard concerto”; it has received far more recordings than any other of Haydn’s keyboard concertos. On the present disc these concertos are all played on a fortepiano by Jolanda Violante, with a period instruments orchestra.

There are no notes about the instrument Violante is playing, but it sounds like a modern copy of a fortepiano. Unfortunately the sound of this instrument is the major letdown of this disc. It is just not very interesting, having little of the contrasting registers and tonal variety of historic fortepianos like a Stein or Graf. I don’t know if it has an una corda pedal, but if so I couldn’t hear any trace of it; this effect would have added some much needed variety to its tone colour.

Violante does not add much ornamentation, or employ rubato noticeably, except in the slow movements. Her playing of these works is generally very enjoyable; her passage work is clean and her demeanour is both sprightly and imperturbable. Occasionally, for example in the “Hungarian” finale of no. 11, she races the orchestra in a vivacious fashion. The light action of the fortepiano comes into its own in the outer movements, allowing Violante to rattle off the extended scale and arpeggio passages at great velocity. But the slow movements are a little on the dull side, mainly because of the rather dead-sounding solo instrument.

The orchestra has an attractively “coloured” sound and plays in excellent style, with the usual period instrument dynamic bulges. The finales are attacked with real brio and vitality. No information is given about this ensemble, but they sound quite small in number. Winds feature only in no. 11; the liner-notes mention that no. 3 includes a pair of ad libitum horn parts, but only strings are used for this and no. 4. For some reason the orchestra sounds a bit livelier (and louder) in concertos nos. 3 and 4 than in no. 11. This is a pity, because it means that, although no. 11 is the most substantial work on this disc, it gets the most distant recording.

Leif Ove Andsnes recorded the same three Haydn concertos in 2000 with the Norwegian Chamber Orchestra. That recording received Gramophone magazine’s award for "Best Concerto Recording" for that year. On that disc (EMI Classics 56960), the concertos are played in ascending number order; for some reason, the Brilliant disc plays them in the reverse order. Andsnes directs the orchestra as well as playing the solo on a modern grand piano, and does both with his usual sensitivity. Tempos are similar to those on the Brilliant disc. Although the orchestra plays on modern instruments, it adopts several period-instrument practices. These performances thus have most of the advantages of a historically informed performance, with none of the drawbacks. The Concerto no. 11 is also available in the same recording on the compilation disc set “Leif Ove Andsnes: a portrait” (EMI Classics 74789).

Those who dislike the fortepiano won’t be converted by this release. However its bargain price, together with Jolanda Violante’s stylish playing and a really excellent period orchestra are undoubted attractions.

-- Guy Aron, MusicWeb International

Pianist Emanuele Torquati immerses himself deeply into these pieces, giving them life and lift.

Charles Tomlinson Griffes (1884 - 1920) was endowed with a creative vein that allowed him to produce, in the space of a decade, works for the piano that were to become a point of reference for the following generation of American composers, especially Charles Ives and Aaron Copland. Indeed, Copland paid him posthumous tribute at Harvard in 1952: "what he gave those of us who came after him was a sense of the adventurous in composition, of being thoroughly alive to the newest trends in world music and to the stimulus that might be derived from such contact."

Such exuberance and influence is most vividly apparent in the three-movement Sonata which is the most forward-looking work on the disc. In its bitonality and untameable energy lie the seeds of a modern American music waiting to be nurtured by Ives and Elliott Carter. Earlier works are poetically inspired, such as teh Roman Sketches, Op. 7, which became repertoire items for the likes of Olga Samaroff and Dame Myra Hess. With its overlapping chords, "Nightfall" conjures up an aura of mystery, while "The Fountain of Acqua Paola" is a virtuoso piece somewhat reminiscent of Liszt's Les jeux d'eaux a la Villa d'Este. No less a figure than Ferruccio Busoni was greatly struck by Griffes's music, especially the three-movement cycle of tone poems from which this album draws its evocative title, The Vale of Dreams.

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REVIEW:

This CD may very well be an introduction for many listeners to Griffes’ unique sound world. It covers a lot of ground in Griffes’ career, and some of the pieces included, such as the piano versions of the 3 Tone Pictures (which impressed Ferruccio Busoni so much when he toured the U.S. that he helped Griffes get them published), the Winter Landscape, De Profundis and Rhapsody in B minor are far from common. He was consistently interesting and high-minded; he never wrote a single piece that was cheap, common, or purposely aimed at popular tastes; and thus his music remains fascinating because it communicated something deeply touching and deeply human about this sad and often lonely man who lived his life for art and beauty.

Will this be enough to encourage other pianists, and orchestras, to start programming Griffes? Probably not. He’s still one of those hothouse flowers of the classical world who apparently only appeals to the most high-minded, but this is truly great music that shouldn’t be missed.

– Art Music Lounge (Lynn René Bayley)

Radames Gnattali, son of Italian immigrants, is one of the most popular and famous composers of his native Brazil, where he is mentioned in the same breath as Villa-Lobos. His music is the perfect fusion of the high and the low, of formally structured classical music and the vibrant multi-colored folk culture of Brazil. The 4 Concertinos for guitar and orchestra are medium-sized, 3-movement works, highly entertaining and brimming with good tunes, groovy rhythms and brilliant instrumentation: a real discovery! Played with infectious enthusiams by guitarist Marco Salcito and the Orchestra Sinfonica Abruzzese conducted by Marcello Bufalini.

Christoph Willibald Gluck is one of the great reformers of opera, departing from the tried and tested genres of opera seria in the 18th century: Metastasio's drama per musica and Rameau's tragédie lyrique. Gluck sought to restore dramatic truth to musical theatre, dispensing with long, virtuosic arias simply written to play to performers' vanity, and providing a greater musical and dramatic coherence to his operas. His focus on clarity, simplicity and the return to nature is perfectly exemplified in his great work, Orfeo ed Euridice, the first of his 'reform' operas. The work owes much to the style of French opera, with its accompanied recitative and simple vocal lines.

This historic recording from 1966 features a young Grace Bumbry, who was recognised at the Kennedy Centre Honours in 2009 as a defining figure in American arts and culture. Also featuring internationally renowned conductor Václav Neumann, the recording is an acclaimed interpretation of one of Gluck's best-loved works.

Other information:
- Includes plot synopsis and liner notes on the composer and work.
- Libretto available on www.brilliantclassics.com.

Classical Music

Angelo Gilardino (b.1941) is a guitarist and composer who has done much to expand the contemporary repertoire of the classical guitar. Concertos, sonatas and variation sets all testify to a bright and airily melodic style and a series of studies of varying degrees of difficulty and virtuosity show Gilardino's commitment to the generations of performers below him.

This particular set of 20 'easy studies' is aimed at the young or at least new student: it covers any number of technical challenges such as tenuto, legato, staccato and marcato playing styles, but it does so in a way that makes learning never less than fun and worth pursuing, since the pieces have a worth beyond the mastering of their particular challenges.

Cristiano Porqueddu has made several recordings for Brilliant Classics, among them a 5CD set of Gilardino's studies for more advanced guitarists. Next on the menu for this fine young Sardinian guitarist is a 5CD set of 19th-century guitar preludes, slated for release at the end of 2012: watch this space.

Other information:
- New recording, Recorded in 2012, Nuoro, Italy.
- This CD presents the complete "20 Studi Facili" , studies on a more modest scale, but offering attractive and colourful music in the form of a technical exercise for training a certain facet of guitar technique. A must for every guitar player (whether amateur or professional) and for adventurous music lovers in general.
- The issue of Gilardino's Transcendental Studies for Guitar, by Cristiano Porqueddu created quite a stir; many excellent reviews praised both music and performer.
- The English and Italian liner notes provide a short introduction to every individual study.

This disc offers a selection of compositions by Georgi Alexandrovich Mushel, the former Professor of Composition at the Conservatory of Tashkent became one of the first true exponents of Uzbek music. Also a gifted painter, he found inspiration in many forms of art, including the architecture of Samarkand, the ancient Islamic city. The music of his Samarkand Suite represents the many different elements of the site, such as the Deserted Hills surrounding the city and the monuments shown in their full splendour thanks to the Rising Sun.

The disc also contains the Uzbekistan Suite, beginning with the beautiful Aria and ending with a sprightly Toccata, as well as the Six Pieces for organ, and Elegy -- originally written for piano. Benjamin Saunders is Director of Music at Leeds Cathedral; his performances have been praised by Organists' Review for their "spirit and commitment".

Other information:
- New recording (2012) on the Grand Organ of Leeds Cathedral, by its titular organist Benjamin Saunders.First and only complete recording of this body of music.
- Georgi Mushel (1909-1989) was an Uzbek composer and painter. His great love for his home country he expressed in his paintings and his compositions, which are inspired by the rich traditions and music of Uzbekistan. His music is picturesque, colourful and often exuberant in its vivid depiction of nature and folklore.
- The Toccata from the Uzbekistan Suite is a popular showcase of organ virtuosity, and is played in its original version, a vibrant celebration of Soviet happiness and optimism!
- Contains notes on the composer and works.

Gaspard le Roux (c. 1660-c. 1707) is one of the most enigmatic composers of late 17th century France, as there is nothing known about him, except a mention on a tax paper roll and his legacy of his “Pieces de clavecin,” which are recorded here for the first time in completion. Le Roux might be roughly placed between D’Anglebert and Couperin. His preludes are written in the “non mesure” style, which means that the performer has to invent the rhythms himself, thus creating the required improvisational character of the music. The special, basic notation of the music also leaves open the choice of instrument: the suites may be played in both solo and duo formation, that is for one or two harpsichords. Both possibilities are presented on this recording. This release is another excellent recording by Dutch keyboard player Pieter Jan Belder (“stand-out exponent in this repertoire” Musicweb) and Siebe Henstra, playing two brand new, magnificent harpsichords from Pieter-Jan Belder’s collection, built by Titus Crijnen after Ruckers and Blanchet.

Mario Gangi’s work as a performer and a scholar solidified his place as one of the most important Italian guitar figures of the twentieth century. His extensive scholarly work promoted the publication and performances of contemporary works for guitar. These 22 studies deal with every technical aspect of the instrument, from scales and arpeggios to polyphony and use of the thumb. Far from being dry etudes, however, each of these exercises shows a warm musical personality. Master guitarist Andrea Pace performs these works with consummate skill and feeling. His previous recording with Brilliant Classics was very well received and contained works by Mario Castelnuovo-Tedesco.

After Buxtehude in the 17th century and prior to Nielsen in the late 19th and early 20th centuries, Niels Gade (1817-1890) was the most famous Danish composer. His extraordinary 1st Symphony of 1843 was premiered in Leipzig at the Gewandhaus conducted by Mendelssohn, who promptly offered Gade a post at his new conservatory. Gade later conducted the premiers of Mendelssohn's Violin Concerto and Schumann's Piano Concerto. His music (he composed 8 symphonies, the 5th having an important piano part, a violin concerto and a Spring Fantasy for piano, orchestra and voices and a quantity of chamber and orchestra works) is superbly crafted, romantic but with a classical poise and form. The influence of his friends Mendelssohn and Schumann can be detetected, but there is a very definate Scandinavian feel to his music. Schumann wrote that he could detect 'the lovely beechwoods of Denmark' in Gade's music.

The 2 Novelletten are among his most successful works. Beautifully crafted, elegant and warm they are rewarding discoveries, and a good introduction to this neglected but important figure in 19th century Scandinavian music.

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Very pleasant additions to the romantic string-serenade repertoire.

Niels W. Gade’s Novelettes are charming, fresh additions to the romantic string-serenade repertoire. There are two sets, the first in F and the second in E, both dating from fairly late in Gade’s career. For those listeners who enjoy Grieg’s Holberg Suite, or the serenades of Suk, Dvorák, Tchaikovsky, and Robert Fuchs, this style will need no introduction: elegant dances, lyrical melodies which rise and fall with a cool outdoor loveliness, the minor keys used merely for spice.

A standout moment might be the beginning of the second set, with its ambiguous slow introduction opening up to brighter things; the second set also features a gorgeous andante with a fine role for the cellos. The first also opens with a lovely slow introduction, and it closes with a finale that brings to mind Mendelssohn’s Octet with its light-hearted fugato opening and perpetual-motion effects.

This isn’t exactly at the top of the string-serenade ladder, not next to Tchaikovsky, Suk, and Dvorák. It’s not even on the second rung, where Fuchs and Dag Wirén reside. The first two Fuchs serenades were just released on a gorgeous Naxos CD which I’d recommend over this one if you only buy one pretty string music disc per year. It doesn’t help that the recorded sound, analog from 1981, is slightly glassy, or that the Aarhus Chamber Orchestra’s work as an ensemble isn’t as polished as that of the best chamber orchestras we have today. Another cause for slight hesitation is the booklet note, which profiles Gade so strongly that we only get 18 words about the actual Novelettes. The CD lasts just 43 minutes.

But please notice I only said slight hesitation! This is still lovely music, fresh and totally enjoyable, and an unquestionably fine way to pass 43 minutes’ time. It’s at Brilliant’s usual bargain price. That said, the same price gets you ten minutes’ more music (and more colorful music too) on the Naxos Fuchs album; though I usually wouldn’t recommend one composer over another in a review, I do listen to my romantic string music to satisfy a particular craving, or mood, and other composers fulfil that mood better than does Niels W. Gade. Still, this is very nice, and there is nothing wrong with very nice!

– Brian Reinhart, MusicWeb International

Polibio Fumagalli (1830-1900) was one of the most important exponents of nineteenth century Italian music. He held important posts in Milan, and as organ teacher at the Conservatory and organist of the S. Celso he was in close contact and collaboration with the famous organ builder Giuseppe Bernasconi, with whom he helped to develop the “symphonic” or “orchestra” organ, with its registers imitating orchestral instruments. This new recording presents two of Fumagalli’s organ sonatas, in classical/romantic style, as well as the complete cycle “Ascetica Musicale,” character pieces of great charm and lyricism, using the full potential of the “orchestra” organ. These works are played with great imagination by Italian organist Marco Ruggeri on two historical Bernasconi organs, built in 1885 and 1892.

Girolamo Frescobaldi has been one of the most influential composers in the history of Western music. Through his many pupils he influenced keyboard playing and composing throughout Europe. Even Johann Sebastian Bach copied some of his works. Therefore it is quite surprising that - as far as I know - no complete recording of his oeuvre has been released. This year (2010) Brilliant Classics has started a Frescobaldi Edition, which is going to be one of the most important projects in the label's history.

Many of Frescobaldi's works for keyboard are played and included in recordings. But some parts of his oeuvre are largely neglected like the instrumental canzonas and his vocal music. The amount of sacred music in Frescobaldi's oeuvre is rather small: only one collection of motets for one to four voices and basso continuo was published in 1627. There are some motets which were included in collections of pieces by various composers. And then there are the two masses which Sergio Balestracci recorded in Volume 3 of the Frescobaldi Edition.

These masses have been preserved in a single manuscript in the library of the Basilica of St John Lateran in Rome. On the organ part of the first of these two masses one finds the letters G. F.di. This has led to these masses being attributed to Frescobaldi. Although their authenticity can't be established with absolute certainty, most scholars believe they were indeed composed by Frescobaldi. It was a good decision to include them in this project since they are of fine quality and give a good picture of the kind of liturgical music which was composed during Frescobaldi's life.

They reflect common practice in Rome in that they are scored for eight voices in two choirs. The two choirs are used to create antiphonal effects. Sometimes they alternate in singing the various verses of the mass, sometimes the one choir repeats a phrase of the other. At some moments they join to underline important passages and in other instances only one choir sings, for instance in 'Et incarnatus est' and 'Crucifixus' in the Credo. In both masses the Benedictus and the second Agnus Dei are left out; these are sung here in plainchant. Both masses are extended by plainchant settings of parts of the Proper of the Mass. In the Missa sopra l'aria della Monica the Introitus, Offertorio and Communion from the Mass for the Virgin Mary are added, whereas in the Missa sopra l'aria di Fiorenza the additional chants are taken from the Mass of St John the Baptist.

Both masses are based on tunes which were quite popular at the time. The aria della Monica was a secular song, and quite often used for keyboard variations and instrumental compositions. The aria di Fiorenza is also known as Ballo del Granduca, and was first composed as the song O che nuovo miracolo by Emilio de' Cavalieri. This was included in the Intermedii which were performed at the wedding of Grand-Duke Ferdinando I and Christine of Lorraine in 1589. This tune was also often used, for instance by Jan Pieterszoon Sweelinck.

La Stagione Armonico consists of 28 singers, divided over the two choirs. Although I would have preferred a slighter smaller ensemble, the sound is quite transparent. Furthermore the singing is outstanding, and the choir shows great rhythmic vitality. The two vocal groups are audibly split, but fortunately they haven't been put too far away from each other. The plainchant is also beautifully sung, and as a result this disc can be unequivocally recommended.

The three masses which are recorded as Volume 4 of this series are of a different kind. They are quite well-known and available in several recordings. Pieces from these masses are also often played in concerts and included in recordings. That is especially the case with the Toccatas, like the Toccata per le levatione, which appear in all three masses.

The three organ masses belong to the category of liturgical music which makes use of the alternatim practice. Its roots are in the antiphonal psalmody, and from that perspective they are not that far away from the masses which are performed in Volume 3. Verses could alternatively be sung in plainchant and polyphonically, or sung and played. That is the case here: Frescobaldi offers organ verses to be performed in alternation with voices. He doesn't provide a complete liturgy, though: the largest part of every Mass consists of verses for the Kyrie. But he goes a long way to serve organists: although in an alternatim performance of the Mass only five versets for Kyrie eleison and Christe eleison are needed, he offers the full set of nine, giving performers a maximum choice for whatever they needed. The other organ versets are called Kyrie alio modo and Christe alio modo. Here they are performed after the liturgically 'correct' sequence of plainchant and organ versets.

Other pieces are a Canzona dopo l'Epistola, to be played after the first reading from the Scriptures, and a Recercar post (dopo) il Credo, to be played after the Credo. Most famous are the Toccate per le levatione, to be played during the consecration. Dissonances are an integral part of these pieces, which are to remember the congregation of Jesus' Passion. The Messa della Madonna contains a special ricercar, called Recercar con obligo dicantar la quinta parte senza toccarla. It means that an fifth part is added which should be sung without support of the organ. In his liner-notes Noel O'Regan writes: "Frescobaldi gives the singer a six-note phrase taken from the Litany of Loreto where it sets the words 'Sancta Maria'; he does not give these words in the print but it is clear that they are what is intended". In this recording the part is played on the natural trumpet, which is rather odd, although this is often practiced. It would have been nice if this part would have been sung as Frescobaldi has indicated. The Messa delli Apostoli contains a comparable piece but here that part should be played at the organ.

These three masses are from the collection Fiori Musicali, published in Venice in 1635. It also contains two pieces on secular tunes, Bergamasca and Capriccio sopra la Girolmeta. It is not quite clear why they are included. Noel O'Regan states that the former is taking the place of the canzon which concludes the other two masses. But that seems unlikely because of the secular subject. The capriccio is based on a tune whose name is the feminine version of Frescobaldi's own. O'Regan again sees this composition as a possible alternative to the concluding piece of this or one of the other masses.

Roberto Loreggian delivers very good performances. Many pieces are quite short, in particular the Kyrie and Christe settings, and they can appear quite short-winded. The fact that the are alternated by the appropriate plainchant helps to prevent that. The singing of the Schola Gregoriana is bright and clear. Of course, it would be nice to hear all pieces within the liturgical context for which they were intended. To my knowledge no such recording exists. So we have to be satisfied with this recording. The quality and variety of Frescobaldi's music and Roberto Loreggian's level of playing is such that that's no tall order.

If these two disc reflect the quality of this whole project we are in for a treat.

-- Johan van Veen, MusicWeb International

The court of the Gonzaga family in Mantua occupied a unique and distinguished position in 16th and 17th century Italy both for the quality and quantity of musical activity associated with it and its palatine basilica of Santa Barbara. With the construction of Santa Barbara, Duke Guglielmo Gonzaga succeeded in endowing the city with a monumental palatine basilica and its own autonomous liturgy. Equally important was the formation of the cappella musicale: Guglielmo recruited the finest vocalists and instrumentalists available and promoted the composition of cyclical masses, magnificats, and motets based on melodies drawn from the liturgy of the palatine basilica. The present recording focuses on the music of Amante Franzoni, Maestro di Cappella of the St. Barbara Basilica. His Vespers for Santa Barbara include 4, 5, and 6-part, as well as polychoral Psalms. Short instrumental interludes are included between the choral works.

Possibly, like me, the first time you may ever have met the name of Forqueray was when you first discovered the ‘Pièces de Clavecin en concerts’ by Rameau. In those chamber works, enlargements of solo harpsichord pieces, Rameau invariably pays tribute to some of his most interesting contemporaries. Amongst them were names which I thought I would never get to know further including ‘La Marais’ (Marin Marais), ‘La Laborde’ who features in the opening piece of Forqueray’s first Suite and ‘La Forqueray’ found in Rameau’s Fifth Suite, a Fugue in D minor composed apparently on the occasion of the wedding of Jean-Baptiste Forqueray. It’s intriguing that the movement ‘La Forqueray’ in the first suite here is also in D minor. It’s probably a character description of his viol-playing virtuoso father. Little did I know, until this CD emerged, that there were two Forquerays, father and son and both are featured on this disc. This also indicates how Brilliant Classics are imaginatively moving out from standard repertoire and re-issues.

The booklet essay, fascinatingly compiled by Lucy Robinson and entitled ‘A Case of Double Misattribution’ gives us some family background, which is useful and explains the music. It seems that in 1747 Jean-Baptiste had published pieces for viol composed by “M. Forqueray le père’. It seems however that they may not have been by him. The style, which is harmonically adventurous does not quite fit. Scholars now believe these pieces had been “thoroughly reworked” by the son. Jean-Baptiste tells us that he did write the bass line, “adding fingering and adding three pieces of his own”. Also the dedications are to the son’s contemporaries: Rameau, Leclair and one Buisson his brother-in-law and his solicitor Bourron! 

In the same year he then brought out his own harpsichord transcriptions of his father’s pieces which made excellent financial sense. 

According to the notes Antoine appears to have been a bit of a beast of a father, having his son incarcerated and then exiled for a number of years for some apparently minor thieving activities. It’s rather surprising then that his son took care to prepare the music for ‘clavecin’ so meticulously and brilliantly. He probably realized that many of these pieces are so fecund in imagination, so full of life and so original and sometimes so eccentric that by putting his own mark on them he wasn’t doing himself any harm. Anyway, his father’s fame had been widespread. He had been recognized as one of the greatest virtuosos whose music is even more difficult and extraordinary than that of the great Marais. In truth however Jean-Baptiste made very few alterations to the viol originals and where changes have been made it was not just to simplify or clarify but for purely musical reasons. Three of the pieces are by him, including ‘La Du Vaucel’, a rather pastoral piece to a man described as a “fermier généraux”. 

I managed to secure a photocopy of the Fifth Suite in C minor; the same published running order of pieces is retained in both versions. I assume this is so in all the suites. Several things immediately struck me. First, the clear fingerings and the figured bass as mentioned. Then the fact that the viol music is written on two staves: a bass and a C clef. Often the two move suddenly to bass clefs obviously giving a low tessitura mirrored by Jean-Baptiste. The suite begins with a serious homage to Rameau, returning the compliment, possibly. The most curious movement is the one reproduced in the booklet, ‘Le Leon’, which is notated in white notes because of its 3/2 time signature or as it is in the original 2/3. There are also instructions, which I’m not sure Michael Borgstede completely adheres to. They translate “In order to play this piece in the way I intended it, one must observe the placing of the notes; the upper part hardly ever coincides with the bass.” 

A standard form regularly found here and popular with French composers of this period is the Rondo. This is fine where the opening ‘A’ is arresting, as in ‘La Montiginio’ in Suite Five but on occasions as in ‘La Sainscy’ in the first suite, it can be a little irritating and tedious. 

Michael Borgstede’s playing is technically superb and he is a fine and experienced performer both as a soloist and as a member of the ensemble ‘Musica ad Rhenum’, a prolific recording group founded twenty years ago. Even so, I am not sure that he quite captures the composer’s intention. In the first suite for example does he really play La Clement ‘Noble et détaché’ or Le Carillon de Passy ‘Légérement sans vitesse’ as marked by the composers?

In all there are thirty-two pieces and the quality is not always consistent. Most are intriguing and often incredibly exciting. Three which stand out for me are, for sheer joy of living, ‘La Eynaud’ in the third suite and in the fifth ‘La Sylva’ which is melancholy and solemn in an alla breve time signature sensitively handled by Borgstede. The last piece of all, another Rondo ‘Jupiter’ is pure harpsichord music, using the full range of the instrument in a dramatic and spectacular way.

I’m not mad keen on the recording … or is it possibly the instrument. It is a copy of a double manual French harpsichord after Pascal Taskin (1723-1793). In so many pieces, which are pitched constantly in the lower section of the instrument even with octaves in the left hand, there is sometimes a lack of sharpness, which obscures the harmony. I have heard the tracks not only on my own stereo, but also in the car and on a friend’s fine equipment. I retain the same view although the bass does need to be turned down more than usual. 

Even so this is a fine set. The famous names of harpsichord composers have some competition here. These are pieces to which I will certainly return. 

-- Gary Higginson, MusicWeb International

This 2008 recording has been reissued to mark the 200th anniversary of the birth of Giulio Briccialdi. As a principal flautist in the major opera orchestras of Italy and across Europe, Briccialdi attracted renown not only for his performing virtuosity but also his ability to exploit and stimulate the rapid technical evolution of his instrument. Although he wrote an opera and a symphony, his legacy as a composer rests upon his works for his own instrument. These include many chamber works for flute and piano: fantasias and operatic fantasias capitalizing on the popular success of dramatic works, especially by Verdi. There are several attractive wind quintets and the Carnevale di Venezia Op.78, a concertante work for flute and orchestra, which has been recorded several times. These four concertos represent some of Briccialdi’s most valuable and original works: conceived as a pinnacle of virtuosic display for the soloist’s skill, and based entirely on original material, Briccialdi mostly kept those works for his personal use. In fact the great majority of Briccialdi’s work remains unpublished and the scores of these concertos were only published earlier this year by the Italian firm of Ricordi. They are all cast in the standard three-movement concerto format, by and large as brief as they are attractive, and unfailingly well written for the soloist: one highlight is the two-minute ‘Valse lento’ which forms the middle movement of the Fourth.