Here is an attractive programme of late-baroque trio sonatas. The two Locatelli works are unpublished as is the G major Sonata by Quantz. The remaining pieces exist in modern, or at least fairly modern editions. Discophiles with long memories may recall the Telemann Sonata in D major from an early ten-inch Archiv mono LP recorded in 1950 by Gustav Scheck (flute), Emil Seiler (viola d'amore), August Wenzinger (viola da gamba) and Fritz Neumeyer (harpsichord). I mention this performance not just because it was rather a good one, but because even at this early date important investigations were under way into baroque performance practice. Thus Neumeyer's harpsichord was a reconstruction of a Silbermann, the flute dating from 1750 and the pitch approximating A=415. (And while I am on the subject may I suggest that it is time Archiv Produktion made a careful selection of their many pioneering early recordings with a view to reissuing them rather than the often far less interesting performances of the 1960s and 1970s which are currently appearing on their Galleria label?)
What the Ariosti Ensemble sometimes lack in technical finesse is in some measure compensated for by its evident affection for the music. In fact, the Telemann Sonata, far and away the most engaging item in a programme which is anything but dull, comes over well, with clean ensemble playing and a pleasing sensibility towards the composer's graceful galant gestures. Less comfortable are the two Locatelli pieces where the viola d'amore is inclined to sound hard-pushed, wiry and untidy in passages which are quick, high-lying or in other respects technically demanding. A treble recorder replaces the flute in these two sonatas, by the way. The Quantz F major Sonata is attractive if otherwise unremarkable and is performed here by flute, viola d'amore and clavichord. Throughout the recital these players avoid anything in the nature of routine playing. Notes and phrases are lovingly shaped with affective dynamic shading and no one strand of the texture is allowed to speak over-assertively. Intonation is not entirely faultless but it never weakens to a point where the charm of the performance is placed in jeopardy.
In short, here is a pleasing and unusual selection of mid-eighteenth century trio sonatas, sensitively played and well recorded. In spite of the rough edges which I have already mentioned, I enjoyed these performances and am particularly happy to renew my acquaintance with the Telemann trio.'