Handel's Coronation Anthems were written in 1727 for George II and Queen Caroline, and have been performed at every British coronation since that occasion. Zadok the Priest will be familiar from its use in the film The Madness of King George. Handel's arpeggiated suspensions in the strings build excitement from the outset, but the entrance of the ...
Rich, smooth, creamy, and very, very warm, Renée Fleming's soprano pours all over the music of George Frideric Handel like melting chocolate. From the voluptuous Oh sleep, why dost thou leave me through the luxurious Endless pleasure to the opulent Calm thou my soul, Fleming's voice fulfills the heart and soul of Handel's music. Better yet, ...
What can anyone add to the praise that has deservedly been heaped on Robert King and the King's Consort's 11 discs of the complete sacred music of Vivaldi? Can one add that every single performance is first class -- wonderfully musical, deeply dedicated, and profoundly spiritual? Can one add that every single performer is first class -- absolutely ...
This box set, called Christmas Carols, includes all four discs originally released between 1987 and 1995 by Andrew Parrott and the Taverner Consort: Festive Music from Europe and America, Nine Centuries of Seasonal Music, and The Carol Album I: Seven Centuries of Christmas Music, plus its sequel, The Carol Album II: Seven Centuries of Christmas ...
Had Purcell not written so much that was so great, his early death would not have been such a loss for English music. Yet had he not written so much that was so great, his posthumous fame would not bring such glory to English music. In this disc collecting the best known of his works written for Queen Mary, the full emotional range of Purcell's ...
When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the ...
The concerto, such a familiar feature of the modern concert landscape, seems a simple thing in its opposition of individual and group. But its early history is not so simple; composers had to find structures that would support contrasts between one or more soloists and an orchestra. The "classic" Baroque concertos of Corelli actually represented a ...
As the forces named on the cover imply, this is a one-voice-per-part and also a one-instrument-per-part, performance, with the quartet of soloists taking choruses, chorales, and solo sections alike, and the string parts also reduced to a single instrument each. The jury is still out on this American-originated approach, which has gained adherents ...
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