This is a simple CD. Easy listening of very courtly music. It will be quite familiar to most listeners, and one cannot go wrong giving this Decca CD as a gift.
Christopher Hogwood directs (and plays the fortepiano) the Academy of Ancient Music on authentic instruments of the period.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Symphony #96 | D | "Miracle" |
| |
| Symphony #94 | G | "Surprise" "Mit dem Paukenschlag" |
|
Nice baroque. Nice soft listening.
I solisti Veneti, conductor Caludio Scimone
violin Giuliano Carmignola (#7-#10) and Piero Toso (#11 & #12)
This continues the CD in post albinoni-concertos-opus-10-1-6
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Concerto for violin, strings and continuo | F | Op.10 no.7 | ||
| Concerto for violin, strings and continuo | Gm | Op.10 no.8 | ||
| Concerto for violin, strings and continuo | C | Op.10 no.9 | ||
| Concerto for violin, strings and continuo | F | Op.10 no.10 | ||
| Concerto for violin, strings and continuo | C | Op.10 no.11 | ||
| Concerto for violin, strings and continuo | Bb | Op.10 no.12 |
Nice baroque. Nice soft listening.
I solisti Veneti, conductor Caludio Scimone
violin Pero Toso, all except op.10#5:Giuliano Carmigola
This continues the CD in post albinoni-concertos-opus-10-7-12.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Concerto for violin, strings and continuo | Bb | Op.10 no.1 | ||
| Concerto for violin, strings and continuo | Gm | Op.10 no.2 | ||
| Concerto for violin, strings and continuo | C | Op.10 no.3 | ||
| Concerto for violin, strings and continuo | G | Op.10 no.4 | ||
| Concerto for violin, strings and continuo | A | Op.10 no.5 | ||
| Concerto for violin, strings and continuo | D | Op.10 no.6 |
Delightful. Like Mahler's on which I have just commented, this is subtle and straightforward. Wilhelm Kempff shows his lyricism with such expressive modulation.
Each piece is more beautiful than the other, in the Deutsche Grammophone CD with recordings from 1967, 1973 and 1974.
Although Three Romances (op.28) clearly contrasts with the other more situational works: Kinderszenen op.15, Waldszenen op.82, Papillons op.2. This one, I believe, does not necessarily try to evoke any particular sensations, but is, excuse my analogy, more discursive in nature, and not so descriptive.
