Four Concertos for Violins and Recorders
View record and artist detailsRecord and Artist Details
Composer or Director: Jacques-Christophe Naudot, Antonio Vivaldi, Georg Philipp Telemann, John Baston
Label: ASV
Magazine Review Date: 3/1985
Media Format: CD or Download
Media Runtime: 39
Mastering:
DDD
Catalogue Number: CDDCA523
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Tracks:
Composition | Artist Credit |
---|---|
Chamber Concerto |
Antonio Vivaldi, Composer
Alastair Ross, Harpsichord Antonio Vivaldi, Composer Max Caudle, Cello Monica Huggett, Violin Richard Harvey, Recorder Roy Goodman, Conductor |
Concertos for Recorder and Strings, Movement: G |
Jacques-Christophe Naudot, Composer
Jacques-Christophe Naudot, Composer Max Caudle, Cello Monica Huggett, Violin Richard Harvey, Recorder Roy Goodman, Conductor Timothy Roberts, Harpsichord |
Concerto for Descant Recorder and Strings No. 2 |
John Baston, Composer
John Baston, Composer Max Caudle, Cello Monica Huggett, Violin Richard Harvey, Recorder Roy Goodman, Conductor Timothy Roberts, Harpsichord |
Quartet |
Georg Philipp Telemann, Composer
Alastair Ross, Harpsichord Georg Philipp Telemann, Composer Max Caudle, Cello Monica Huggett, Violin Richard Harvey, Recorder Roy Goodman, Conductor |
Author: Nicholas Anderson
This is the second of two recitals by Richard Harvey which have been released by ASV on LP. The first consisted of Italian recorder concertos by Sammartini, A. Scarlatti and Vivaldi, which has not been released on CD as yet. In my review of the LP equivalent of the present disc, I remarked on the effective balance between recorder and violins. Whilst the CD version offers certain advantages over the other—the sound is certainly clearer, if only marginally so—I am not so sure that it actually improves matters, since it draws attention to the fact that the recorder is just a shade too closely balanced. These are, after all, concertos and not sonatas with basso continuo. The point is a small one and, because of the excellence of the recorded sound, it is perfectly possible to hear all strands of the texture for most of the time; but I felt in the Vivaldi, especially, that more string presence would have been preferable. The ensemble is a good one but it is one instrument to a part and therefore I can see little need to emphasize the recorder sound under these circumstances. Apart from that I can warmly recommend the issue.'
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