The fact that Ofra Harnoy chooses to record the Grutzmacher arrangement of Boccherini speaks for itself: this is a CD for cello-fanciers, not for those who like eighteenth-century music. I am not being 'authenticist' in saying that; rather, I am expressing my aversion (which readers may have noticed before) to music that mixes styles so crudely as to be, in my view, ultimately styleless and therefore offensive. That said, there is no arguing that this is very fine cello playing. I won't comment on the 'Boccherini', as there is no proper basis for critical discussion of the style of performance, except to say that Harnoy is not afraid to take the music on Grutzmacher's own terms and to allow it a generous measure of sentimentality, especially in the Adagio where she chooses a decidedly slow tempo––though the finale is certainly done with plenty of spirit and thrust.

Josef Myslivecek, a good friend of Mozart's, was a gifted composer, particularly of opera. This concerto has a most appealing slow movement, beginning poetically as a soft, sustained note on the cello steals through the texture, and continuing with highly expressive galant figuration. In the outer movements, competent but rather ordinary invention, Harnoy has, and takes, plenty of opportunities for showing her capacities in the upper reaches of her instrument; her light, pure, slightly wiry tone and clean articulation are a delight. She uses more portamento than Myslivecek might have expected, and in rather different contexts, but does it with purpose and control. Her cadenza in the first movement is, however, disagreeably violent for the context; that in the Viotti first movement is far too long, elaborate and romantic. In this work––the attribution is not absolutely secure––she justifiably uses a weightier tone, with a rather heavy eloquence in the Adagio.

In sum, it is playing that, with its excellent intonation, pleasing tone and polished bow techniques, admirers of good cello playing are sure to enjoy.

-- Stanley Sadie, Gramophone [8/1993]

BOCCHERINI: Cello Concerto in B-Flat Major / HAYDN: Cello Co

Classical Music

Though never a rival to his contemporaries Haydn and Mozart in terms of fame, partly on account of a lack of great ambition, Boccherini was held in huge esteem by connoisseurs in his own lifetime. 'If God wanted to speak to man through music, he would do so through the works of Haydn; if he wished to listen to music himself, he would choose the works of Boccherini.' There cannot be any greater accolade than this, expressed in 1798 by the French violinist and composer Jean-Baptiste Cartier - and that was certainly not a unique view: Boccherini's prodigious talents as a lyrical melodist and sumptuous sound smith were highly prized by those who were had encountered them. Boccherini is the greatest Italian composer of the Classical era - although he lived in Spain for most of his career. Distanced from the Austro-German mainstream, his music retained an individual and distinctive voice, imbued with a refined galant grace which, on the surface at least, can sometimes appear old-fashioned even for his time. Unlike the Viennese school, he was not preoccupied with structural and tonal complexities, but pushed boundaries in his own quieter, more subtle ways. Undervalued in modern times (he has been mean-spiritedly dismissed as 'Haydn's wife'), there is much to appreciate in Boccherini's uniquely expressive voice. His greatest legacy is an enormous body of chamber works, but his output also includes around 30 symphonies, a dozen concertos for his own instrument, the cello, and a smattering of vocal works. This monumental set gathers all of the above, in lavish performances by artists who are among the greatest champions of the composer's art in recent decades.

Other information: - Recordings date from 1991-2021 - Booklet in English contains liner notes by Graham Rogers. - Played in Historically Informed Performance Practice by leading Early Music instrumentalists. - The most comprehensive collection of music by Luigi Boccherini ever issued, 52 CDs brimming with charm, elegance, wit and catching melodies!

This new Edition contains a wealth of Boccherini's music: symphonies, cello concertos, sextets, string quintets, quartets and trios, violin sonatas and duos, and the moving Stabat Mater.

Few musicians today possess so much awareness and experience with Luigi Boccherini’s music as Emilio Moreno, or can invest their performances with so much insight.With his ensemble La Real Cámara and for his seventh recording of Boccherini’s music for Glossa, Moreno has turned to the six string trios or Terzettini, op 47 (1793) – scored untypically for Boccherini for violin, viola and cello– written when he was in full maturity both in his compositional activity and in his own skills as a cellist.Mr. Moreno also provides an essay about the composer as he turned 50 and about his music.

Luigi Boccherini was one of the most famous cellists of his day, travelling Europe as a touring virtuoso. On his return to his native Lucca he founded the first professional string quartet in history. Boccherini's output for string ensembles is vast: he wrote more than 120 string quartets, 100 string quintets and 48 string trios. The string trios, Op. 6 are for 2 violins and cello, highly expressive music full of rich classical melodies, elegance and instrumental brilliance. Excellent performances by the Lubotsky Trio, with the eminent Russian violinist Mark Lubotsky, a pupil of David Oistrakh, as primarius.

The most emblematic work among Boccherini's descriptive music is his quintet with two cellos La musica notturna delle strade di Madrid, which 'depicts' a cross-section of the night in Madrid, from the sound of the Ave Maria on the city's church bells to the soldiers' patrol announcing the curfew. In the short time-frame of five movements / episodes, the different souls of the night of Madrid are recalled. This is amplified in his revision of the quintet, extending the final movement through the addition of 11 variations on the theme of the Curfew Patrol. Both versions of the Quintet are presented in this recording, along with the other five that make up Opus 30, designated by Boccherini as an "opera piccola" due to their two-movement structure. In them Boccherini explores various expressive characters, both within the individual movements and in their juxtaposition, exploiting peculiarities of his art such as the skilful use of modulations and harmonic contrasts, the subtle balancing of melody and texture and the emphasizing of rhythm in the characterization of musical ideas. The second set of quintets with two cellos that Boccherini composed, numbered as Op. 31, is designated an "opera grande", featuring compositions in more than two movements. The play of characters that Boccherini develops through these quintets appears overall to be even more multifaceted and nuanced than in his Quintets Op. 30. In these quintets, as in the Musica notturna and indeed other chamber works by Boccherini, the sacred and profane meet in the name of musical pathos, putting to the listener an ethical and existential question, as well as an aesthetical one. It will be up to each of us to find an answer on the basis of our own sensibilities. Other information: - Recorded October 2014, January 2015, January & June 2016, Padua, Italy - Booklet in English contains liner notes by Matteo Giuggioli and a profile of the ensemble - The Italian liner notes are available for download at www. Brilliantclassics. com - The continuation of a highly successful and popular series on Brilliant Classics: the String Quintets by Boccherini (1743-1805)! The String Quintet series, of which 17 CD's have already been issued, brought to light many hidden treasures, masterworks of chamber music in pure Classical Style, brimming with vitality, wit and winning charm. - This new recording presents the String Quintets Op. 30 and 31, of which the Op. 30 No. 6 is the most remarkable: this quintet with two cellos La musica notturna delle strade di Madrid "depicts" a cross-section of the night in Madrid, from the sound of the Ave Maria on the church bells of the city until the passage of the soldiers' patrol announcing the curfew. In five movements-episodes, the different souls of the night of Madrid are recalled: the religious and devout (Ave Maria delle Parrocchie, Rosario) that carefree and goliardic (Minuetto dei ciechi, Passa Calle), and the military one (Ave Maria del Quartiere, Ritirata). In this quintet each musical resource is employed, in an extremely original way. As Boccherini himself notes in the score, the faithful representation from real life is so central in this work, that "everything that does not conform to the rules of composition, must be justified by the truth of the represented thing". - Played by Luigi Puxeddu and I Virtuosi della Rotonda, with Federico Guglielmo, Alessia Pazzaglia, Davide Zaltron and Riccardo Giovine.

The emotion-laden text of the Stabat mater has been an inspiration to many composers from the Renaissance onwards and has been set to music in every possible style. Luigi Boccherini, a virtuoso cellist and unquestioned master of chamber music, composed his own setting with a great respect for the text’s character. The quintet that accompanies the solo soprano has the same qualities of balance and homogeneity common to the best chamber works of the end of the Classical period, whilst the blend between voices and instruments is perfect. Boccherini’s profound respect for the text enables him to identify the exact musical character of each and every verse. Born in Belgium, Sophie Karthäuser completed her studies with Noelle Barker at the Guildhall School of Music and Drama. She is one of the world’s finest interpreters of Mozart and has been called a born “Mozartian,” and brings that same clarity of interpretation and flair to the work presented on this release.

Classical Music

Published in Paris in 1768, the Sei Sonate, Op. 5 (G 25-30), are Boccherini's first compositions for keyboard, probably inspired by the playing of their dedicatee Mme. Brillon de Jouy, who Charles Burney considered to be one of the greatest keyboard players in Europe at that time. Boccherini met her while staying in Paris in 1767-1768 (from whence he had intended to go to London). This intimate friend of Benjamin Franklin Owned several harpsichords and 'new' pianos, including one sent from London by Johann Christian Bach, similar to the square piano made by Frederick Beck recorded here. Violinist Liana Mosca began studying her instrument at the Suzuki Talent Center in Turin. She received her degree at the Milan Conservatory, and began winning international competitions in 1987. She has recorded for several labels, and currently teaches at the Accademia Suzuki in Turin and is a Teacher Trainer with the Italian Suzuki Institute.

Recording information: Funkstudio im SWR Stuttgart (01/17/2005-01/20/2005); Funkstudio im SWR Stuttgart (11/17/2005-11/18/2005).

This Zig-Zag Territoires release, a second collaboration between the label and cellist Marco Ceccato (the first, Vivaldi, highly praised), focusing on Luigi Boccherini, illustrates two important aspects of output. The two quintets and the divertimento feature the combination of the string quartet - of which Boccherini was, in a way, a co-founder with Haydn - with guitar and flute respectively; on the other, the cello, of which he was a leading exponent. His use of the guitar and flute's sound capabilities is always a delight; the Cello Concerto in G major a summary of virtuosity and lyricism.

On this recording of boccherini's Arie da Concerto, the Belgian ensemble Capriola di Gioia defies the stubborn stereotyping of Boccherini as the gallant master of unsurpassable but insignificant melodies. Close listening to this marvellous music reveals a genius with a profound understanding of human psychology, and a rich harmonic palette to paint the smallest affective nuances. In these arias, Boccherini is rehabilitated as a true her of Handel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini. This album is a rare recording of vocal music by Bocchereini, who himself - at the time - was a neglected composer. This album rehabilitates Boccherini as a true heri of Handel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini.

Luigi Boccherini's six sonatas for violoncello and bass, published in London around 1770/1775, are technically quite demanding pieces. The baroque cellist Dmitri Dichtiar makes it clear that these are not only effective virtuoso pieces, but rather chamber music jewels, which are characterized not least by a melody rich in affect and ornamentation. The cellist has worked with many ensembles, such as the Amsterdam Baroque Orchestra, Anima Eterna Orchestra, the Nova Stravaganza, Hofkapelle Munich, the Ensemble moderntimes 1800, the Vienna Academy, the Concerto Cologne and the DEUTSCHE H�NDEL-SOLISTEN. He teaches baroque cello and historical performance practice at the Karlsruhe University of Music.

The name Luigi Boccherini (1743-1805) does not immediately bring to mind such modest works as violin duos, but alongside his large output of trios, quartets and quintets for stringed instruments, Boccherini's oeuvre also features two sets of six pieces for two violins. One set was composed at the beginning of his compositional career, in 1761 - that is, before his 20th birthday - and published some years later, in 1768, in Paris by Louis-Balthazar de La Chevardiere, under the title Six duos pour deux violons, with the opus number 5. Later, the same collection is described by the composer as his Opus 3. And then there is a second, much later collection with arrangements for two violins of other compositions of his originally written for three or five stringed instruments. The latter set was published by Ignace Pleyel in Paris in 1799 - just a few years before his death - under the similar title Six duos pour deux violons, with opus number 46. Unsurprisingly, the two sets are very different in character. Boccherini's Duets Op. 3 all consist of three movements. Five of them begin with a fast movement, in a major key. Then follows a slow movement in a different key, sometimes major, sometimes minor. And, finally, there is most often a minuet, in a characteristic 3/4 time, with a tempo between slow and fast. The first duet in the set, however, follows a different model: it starts with a slow movement, a fast movement follows and finally there is a light-hearted 'Presto'. We know the year of composition of the Duets Op. 3, and we know for sure that they are works by Boccherini. Regarding the Violin Duets Op. 46, however, there are still some question marks. We know that they were published in 1799 by the Parisian publisher Ignace Pleyel, but they are missing from the catalogue compiled by Boccherini himself of his own works. That does not necessarily mean that they are not from his hand. Boccherini regularly arranged his own compositions for other instrumental combinations, and these are systematically missing from his catalogue. And these arrangements are not simply reductions of the original compositions for two violins: in many cases they are thorough re-compositions based on the original material. This last aspect in particular contributes to the assumption that the arranger was Boccherini himself: arrangers who are not the original composer usually leave the structure of the composition intact in their arrangements. In the case of Boccherini's Duets Op. 46, as it were, new compositions were created. Boccherini's violin duets are perhaps not among his best-known compositions. For the Duets Op. 3 one has to go back quite far into the past to find a recording on LP or CD. The Duets Op. 46 have never been recorded on LP or CD. It's high time, then, for a CD featuring these charming and melodious works. Other information: - Recorded October, November & December 2021, Velp, Netherlands - Booklet in English contains liner notes by Rudolf Rasch and profiles of the violinists - The recording of the Opus 3 Duets is based on the critical edition of these works in Volume 29 of the series Luigi Boccherini: Opera Omnia, published in 2007 by Ut Orpheus Edizioni (Bologna) - The Dutch liner notes are available for download at www. Brilliantclassics. com - A much-underrated composer, Luigi Boccherini (1743-1805) was one of the leading composers of the late 18th century, a friend and colleague of both Haydn and Mozart, and a formidable cello virtuoso. Although less dramatic than either Haydn or Mozart, his music does have moments of explosive drama that appear all the more effective when bursting fortissimo from an otherwise calm movement. The harmonic shifts are also surprising and used to great effect. His music is sensuous, charming and highly melodious, yet may be passionate and dramatic as well. - This new recording presents the complete Duets for two violins by Boccherini. Originally conceived as study material, these works far transcend this aim, as they are challenging, skillfully written compositions, brimming with good tunes and blazing vitality. - Played by Igor Ruhadze and Daria Gorban, specialized in Baroque repertoire, having recorded the complete works by Locatelli and works by Nardini. Rugadze's recording of the Boccherini violin sonatas on Brilliant Classics received 5 stars in the French Diapason.