For admirers of music of the era, this disc represents an appealing prospect - and Richter absolutely deserves much greater exposure.

Franz Richter wrote two sets of six sonatas for the combinations of harpsichord, cello and then flute or violin. This is the set published slightly later; as this release is entitled 'Volume 1', it is a safe bet that at least the rest of this six will be forthcoming – also, we hope, the six of the earlier group. The date given above is the date of publication of a new, revised edition - the composition of the sonatas may or may not predate this by anything up to five years. In any case, however, the exact dates are rather immaterial, given Richter's tendency to eschew the latest trends in music - the works here are still Baroque, with little sign of the coming Classical age.

In each of the three sonatas the flute and harpsichord are given fairly equal prominence. The flute part is far from virtuosic - as a conservative, Richter did not approve of virtuosity for its own sake - and the harpsichord in fact sometimes takes the lead, with extended passages of rich, occasionally even dense, music. The cello takes more of an accompaniment/continuo role, though it does have more material than is typical of high Baroque. The overall effect is of an expert, not to mention beautiful, blend of textures.

The three sonatas are fairly similar to each other structurally. They each have a long mid-tempo opening movement, a larghetto middle, and a five-and-a-half minute upbeat final movement. There is also an undeniable similarity of music - superficially at least, one sonata sounds much like another. Nevertheless, this is not superficial music - each sonata is packed with melody, invention and expression, with a style and feel reminiscent of early C.P.E. Bach.

The sound quality is reasonable, with an ideal balance between the three soloists - the harpsichord and flute set a little forward of the cello, as befitting their prominence - and with very little 'respiratory noise' from them. There is however the presence of an almost constant very deep hum to reckon with, presumably due to electrical interference somewhere during recording. However, it is only properly noticeable during the quietest moments, especially through headphones, and many ears may not even notice it.

The three Finnish soloists all play period instrument replicas. They have first-rate credentials and play with great sensitivity throughout. For admirers of music of the era, this disc represents an appealing prospect - and Richter absolutely deserves much greater exposure.

-- Byzantion, MusicWeb International

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Virginia Woolf defied the false order of narrative conventions to depict a heightened, startling and poignant reality. Woolf Works recreates the synaesthetic collision ofform and substance in her writings. Each of the three acts springs from one of Woolf’s landmark novels: Mrs Dalloway, Orlando and The Waves – but these inspirations are also enmeshed with elements from her letters, essays and diaries. Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism, and brings to life Woolf’s world of ‘granite and rainbow’, where human beings are at once both physical body and uncontained essence. Woolf Works (2015) was Wayne McGregor’s first full-length work for The Royal Ballet. "At its creation in 2015, Woolf Works felt like a breakthrough for choreographer Wayne McGregor, adding a new emotional weight to his athletic force and fascination with technology. In this first revival, it’s even stronger, with Alessandra Ferri luminous as the Virginia Woolf figure… It’s a thoughtful, heartfelt performance in a ballet that is both intelligent and tender." (The Independent 4 Stars)‘‘Since its premiere in 2015, Wayne McGregor’s first full-length ballet has won the 2015 Critics’ Circle award for best classical choreography and the 2016 Olivier Award for best new dance production, while its star, the fiftysomething ballerina Alessandra Ferri, has won an Olivier for outstanding achievement in dance. No wonder the Royal Ballet decided to revive Woolf Works as part of the celebrations marking McGregor’s tenth anniversary as resident choreographer." (The Times 4 Stars)

Nearly 1,000 kilometres separate Hole�ov, Moravia, from Strasbourg. Franz Xaver Richter's professional journey started in Count Rottal's court orchestra in Hole�ov and ended in the prestigious post of Kapellmeister at the Cath�drale Notre-Dame in Strasbourg. He is primarily known as one of the major representatives of the renowned Mannheim School, with his "trumpet" Sinfonia No. 52 in D being a typical example of the late Mannheim form. The grandiose Te Deum, featured on the present album, is Richter's second setting of the hymn and was first performed in 1781 in Strasbourg, during the celebrations marking the centenary of the city's coming under French administration. Along with the motet Exsultate Deo, the piece falls within the composer's vocal-instrumental oeuvre, which has yet to be explored (and, just as in the case of Jan Dismas Zelenka's music, contains many unexpected twists and turns). The virtuoso, engrossing and masterfully balanced Oboe Concerto with the original cadenzas represents Richter's concertante style. Following their premiere recordings of Richter's Requiem and the Passion oratorio La Deposizione dalla croce di Ges� Cristo, the present Czech Ensemble Baroque album maps another part of the remarkable 18th-century composer's work. Newly discovered gems from Franz Xaver Richter's undeservedly overlooked oeuvre.

Includes symphony(-ies) by Franz Xaver Richter. Ensemble: Helsinki Baroque Orchestra. Conductor: Aapo Häkkinen.

“I devote my new Portrait album to Max Richter and his impressive body of powerful and original works. I have selected sixteen works with his unique signature, which I revisit here with my violin and my orchestra, La Pietà.” - Angele Dubeau O.C., C.Q., DFA.

Max Richter is one of the most influential composers of his generation. Inspired by Bach, punk rock and ambient electronic music, he has composed works for more than 50 films, including Waltz for Bashir, Shutter Island by Martin Scorcese and Arrival by Denis Villeneuve, as well as HBO's The Leftovers television series.

-----

REVIEW:

The playing and recording standards are absolutely top-notch. It’s essentially easy, pleasant – and, yes, introspective – listening that will be warmly welcomed by Dubeau’s many regular admirers.

– The Whole Note