price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (A must buy!) 『If you like light, melodic and well-played music, you will be pleased with this CD. Hofmann's compositions are bright, cheerful, and rich. This album holds up under repeated listenings, and makes a great background for study or thought. Do yourself a favor and buy this one today.』
price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (Getting More Than You Pay For) 『Since this is an exceptionally fair price to pay for some of Telemann's most famous recorder works I though I would do what I rarely do, which is undertake to review classical music. I've heard three different musicians perform these pieces, and played them myself, and it is interesting to compare the soloists and the approaches taken to the balancing of the string consort with the recorder (not counting me, of course).
The musicians in question are Michala Petri (now hard to find), Franz Bruggen (just about impossible to find), and here Daniel Rothert. Bruggen is more of a 'force' at the recorder than the other two, and most of his recordings tend to be more emotional rather than technically brilliant. Since Bruggen was almost single-handedly responsible for the resurgence of the recorder as an instrument I tend to forgive most of his sins. And, after all, he really was a fine player.
Petri really owns this music. She has the most polished tone and technique of any recorder player I've heard, and an exquisite sense of phrasing. I have only two issues with her. The first is that she tends to rush, which sometimes blurs an arpeggio or detailed passage. The second is that her tone is very restrained, and she will sometimes blend into the accompaniment just when you want to hear the details of her work.
Rothert, on this recording, is the great compromise. The recorder chosen for these pieces has a darker tone than Petri's, but has a bit less color than Bruggen's preferred instruments. Rothert also forces his notes more than Petri, which sometimes brings a high not into unexpected prominence. This is particularily noticable in the A minor Suite, which has one or two great leaps of recorder faith. Rothert does the best job of balancing with the strings, never getting lost in the shuffle. He is an admirable technician, one that may not take the risks that Petri does but who impresses nonetheless.
If you are looking for an extremely cost friendly way to add these pices to your collection, you will be greatly pleased with this purchase.』
Core2Duoノートレビュー 's review (Majestic Sound, Emphasis on the Strings) 『Georg Philipp Telemann (1681 - 1767): Musique de Table (Banquet Music). Selections. Performed by Musica Antiqua Köln [Cologne] on authentic instruments. Directed by Reinhard Goebel. Recorded in the "Sendesaal" of the Deutschlandfunk [German National Radio] in Cologne, Germany in April and June 1988. This selection published in 1990 as Deutsche Grammophon Archiv 429 774-2. Total playing time: 75 minutes.
In 1988, Reinhard Goebel and his Musica Antiqua Köln recorded the three "productions" of Telemann's "Tafelmusik" (the original title was in French, "Musique de Table") in their entirety using an extended chamber ensemble with flute, two oboes, six violins, two violas, one each of cello and violone and a harpsichord. This recording was published in the form of a 4CD box which has been constantly available since then, unfortunately in the highest price range (Telemann: Tafelmusik (Musique de Table partagée en Trois Productions)). However, Reinhard Goebel soon made this selection available, ensuring that even those who could not or would notspend the not inconsiderable sum required for the full set could at least get a taste of what Musica Antiqua Köln had to offer. Each of Telemann's three "Productions" consists of six pieces: an overture, a "quatuor", a concerto, a trio, a "solo" (with basso continuo) and a "Conclusion" in the samekey as the overture. In order to provide a sound series of selections, Reinhard Goebel has preserved this order here, but taken the pieces from all three "Productions": the Overture, the Quatuor and the Conclusion are from the Third Production, the Concerto and Solo from the Second Production and the Trio is taken from the First Production. The result is not only balanced but also very pleasing to the ear. The fact that Goebel himself is a violinist, coupled with his employment of three violins per part, tends to put the emphasis on the strings rather than the woodwind, but this is not necessarily a disadvantage and I found myself listening with delight, especially to Goebel himself who is a distinguished and extremely elegant player.
In contrast, the 90's recording of the whole work by flautist Konrad Hünteler and his Camerata of the 18th Century (fielding musicians taken from Frans Brüggen's Orchestra of the 18th Century) uses only one player to a part and, consequently, puts the emphasis more on the flute and/or oboe when these are included. Comparing both recordings, I decided that ultimately, I would probably prefer the newer recording by Hünteler, but Goebel (and the excellent Deutsche Grammophon engineering) made the choice extremely difficult. In the end, I suppose, it is a matter of taste. The Goebel sounds a little more majestic, the Hünteler has a clarity which is clear as glass - and his slightly more up-tempo version of the Concerto for Three Violins was what finally persuaded me that if I were allowed to have only one version, it would be the Hünteler (on the German audiophile label MDG). But I cannot imagine that anyone coming to this music for the first time could be anything but enchanted by the Goebel version which deserves five stars just as much as the Hünteler (Telemann: Musique de Table).』
(A truly outstanding recording!) 『I must recommend this incredible recording of Telemann's Tafelmusik. Musica Antiqua Köln's playing is as usual phenomenal! The character of each piece, whether it is an ouverture or a trio, is very clear and convinvincing. The way Goebel brings out the sheer beauty of the ouvertures is striking.This is a must have for the early-music lover. And everybody else too!』
price：$16.99
Crystal Records
Usually ships in 24 hours Core2Duoノートレビュー 's review (Solidly enjoyable) 『Ralph Sauer recently retired from the LA Philharmonic after more than thirty years as principal trombonist. This CD of Baroque and Classical transcriptions plus several more recent original compositions for trombone provides a surprising amount of musical enjoyment. I say surprising because the trombone is not primarily thought of as a solo instrument, but in the hands of such a skilled performer at the height of his powers (these performances date from the late 70s-early 80s) it certainly convinces as such. The Baroque pieces are cleanly performed with impeccable intonation and clarity, while the Haydn Concerto movement incorporates a cadenza which ascends to the high F-sharp (high even for a French horn) with no sign of strain or unsteadiness. The Serocki and Larsson are rather lightweight examples of neo-classicism spiced up with hints of jazz, while the one-movement Sulek Sonata provides a counterbalance with its somewhat overblown late Romantic gloom. Zita Carno provides exemplary accompaniments, and the sound quality has held up well save for the Larsson, which appears to have been originally recorded in a fuzzier acoustic.』
(Consistancy) 『Mr. Sauer does indeed play like an orchestral musician. Some may think that means a dry interpretation. It's true, there's not a lot of 'cheese' in this music. However, Sauer's sound is always clear and warm and his articulations all match. This album is a perfect example of consistant playing. He eliminates the unnecessary and lets the music shine through. Only on close inspection will the listener realize they're being treated to almost perfect playing. Every note is a gem.』
(An excellent recording for study.) 『While I have to agree on the previous reviewer's comments in that the Serocki and Sulek were not exactly 'dynamically extroverted', I think it's unfair to dismiss the entire album as unimpressive. Sauer's renditions of the Handel, Telemanns, Haydn and Larsson are, in my humble opinion, A-Grade.
Besides the fact that most of these pieces in question (excluding Larsson) aren't 'virtuosic display vehicles' (they're still pretty hard, though), I think that Sauer's playing here is 'true to the music'. If anything, they are very good 'middle of the road' interpretations that I would recommend to a student who may be learning one of these pieces. Lindberg can sometimes go a bit overboard on some pieces like those represnted here, and give an unorthodox interpretation that could send a student down the wrong road. Sauer's career as primarily an orchestral trombonist has probably put him into the habit of 'playing the ink', while guys like Lindberg can get away with being a bit 'creative' at times. In terms of being virtuosic, I think to be able to play a solid valve-register D on a straight tenor and then go all the way to articulate a High F-Sharp (I mean high,high F#) is still impressive. His execution of trills, mordents, and other ornaments is also well done.
There aren't that many Trombone Recordings around the place, so I don't think we can be too picky. Nevertheless, this is still an excellent recording. Buy it and decide for yourself.』
(Unimpressive) 『I am a fairly experienced trombonist, and I purchased the cd looking for a recording of the Serocki, which I was performing at the time. I found Sauer's interpretation to be robotic, and I felt as if he didn't find dynamics to be important aspects of music at all. In my opinion, he is being a technician and not a musician on this cd. His playing is entirely unimpressive, and not worth listening to at all. I recommend purchasing a Joe Alessi or Christian Lindberg cd, myself.』
Core2Duoノートレビュー 's review (Classical Music 45s?.) 『Although I have been around since the early 1950s and have been actively involved in listening to classical music for the last 40 years, I had never heard of or seen classical music 45s. During the 20th century classical music was always at the forefront of recording technology before popular music moved in. First 78s then LPs and finally CDs so why not 45s? I remember my first 45 as being the Everly Brothers' WAKE UP LITTLE SUSIE followed by Jerry Lee Lewis' WHAD' I SAY. I eventually had quite a collection of 45s, all popular singles. Classical music and the LP came later. So when I ran across this title, I just had to investigate and eventually purchase it. Turns out that the 45 came along at the same time as the LP (duelling formats like VHS and Beta) and the LP won out but the 45 was ideal for single cuts. Back in the early 1950s Deutsche Grammophon converted some of their 78s into 45s and then added a number of new ones before going LP only in 1965. This collection releases for the first time some of those recordings.
This 2 CD set has over 2 1/2 hours of music and features a number of well known (and some not so well known) selections performed by the top DG artists of the day. Pianist Shura Cherkassy, guitarist Andres Segovia, violinists David&Igor Oistrakh, soprano Irmgard Seefried, tenor Fritz Wunderlich and more are on hand to perform over 30 different selections from celebrated composers like Mozart, Beethoven, and Haydn to some real rarities like Morton Gould's BOOGIE WOOGIE ETUDE and Rolf Liebermann's SUITE AFTER SWISS FOLKSONGS. Although many of the tracks are in mono, the sound quality is excellent as you would expect from the Deutsche Grammophon ORIGINAL MASTERS series. This set is a fascinating treasure trove and the perfect gift for the classical music lover who has everything. Hurry though. It's already officially out-of-print although there are a number of affordable new and used copies still available. You can sample them as well.』
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