Rameau - Pièces de Clavecin en Concerts

Blandine Rannou - clavecin
Valerie Balssa - flute
Cathérine Girard - violon
Emmanuel Balssa - viole de gambe

Lossless: Ape (img + cue + log) = 379 mb
Lossy: Mp3 (lame "preset standard") = 89 mb
Artwork @ 300dpi = 13 mb

Total playing time: 62:55
Recorded: 28/07 - 10/08/2000, Ancienne Chapelle du Lycée Carnot, Dijon

Zig Zag Territoires ZZT 204 03 01

Track listing:
1. PREMIER CONCERT - La Coulicam
2. PREMIER CONCERT - La Livri
3. PREMIER CONCERT - Le Vézinet
4. DEUXIEME CONCERT - La Laborde
5. DEUXIEME CONCERT - La Boucon
6. DEUXIEME CONCERT - L'Agaçante
7. DEUXIEME CONCERT - 1er menuet - 2è menuet
8. TROISIEME CONCERT - La Lapoplinière
9. TROISIEME CONCERT - La Timide
10. TROISIEME CONCERT - Les Tambourins
11. QUATRIEME CONCERT - La Pantomime
12. QUATRIEME CONCERT - L'Indiscrète
13. QUATRIEME CONCERT - La Rameau
14. CINQUIEME CONCERT - Fugue La Forqueray
15. CINQUIEME CONCERT - La Cupis
16. CINQUIEME CONCERT - La Marais

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Chopin - Études

John Browning - piano

Lossless: Ape (img + cue + log) = 152 mb
Lossy: Mp3 (lame "preset standard") = 72 mb
Artwork @ 300dpi = 6 mb

Total playing time: 56:29
Recorded 1968 | Released 1989

Info (allmusic.com):
The twenty-four Études of Frédéric Chopin (divided into two separate opus numbers, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. In a letter written in the fall of 1829, Chopin remarked that he had composed an etude "in [his] own manner." Indeed, a great chasm stands between his achievements and the far drier etudes of such predecessors as Moscheles, Czerny, and Hummel. Unlike many nineteenth-century pianist-composers, Chopin did not wish to create studies of only technique and raw dexterity. Here, instead, are works which provide the pianist with an inexhaustible array of textures, moods, and colors to explore. Concert pieces as well as technical studies, the twelve Etudes published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft; furthermore, they are a rite of passage that no serious pianist can ignore. The blistering arpeggiations of the Etude Op.10, No.1 in C major lay down the foundation of nineteenth-century virtuoso pianism. The work consists, quite simply, of a series of daunting right-hand maneuvers, supported by the plain melody, in octaves, of the left hand. While the technical demands and harmonic syntax may go a good deal further than most musicians of the day would have found comfortable, the texture is essentially classical in nature (if not execution).

Track listing:
1. Étude No. 1 in C major, Op. 10
2. Étude No. 2 in A minor, Op. 10
3. Étude No. 3 in E major, Op. 10
4. Étude No. 4 in C-sharp minor, Op. 10
5. Étude No. 5 in G-flat major, Op. 10
6. Étude No. 6 in E-flat minor, Op. 10
7. Étude No. 7 in C major, Op. 10
8. Étude No. 8 in F major, Op. 10
9. Étude No. 9 in F minor, Op. 10
10. Étude No. 10 in A-flat major, Op. 10
11. Étude No. 11 in E-flat major, Op. 10
12. Étude No. 12 in C minor, Op. 10
13. Étude No. 1 in A-flat major, Op. 25
14. Étude No. 2 in F minor, Op. 25
15. Étude No. 3 in F major, Op. 25
16. Étude No. 4 in A minor, Op. 25
17. Étude No. 5 in E minor, Op. 25
18. Étude No. 6 in G-sharp minor, Op. 25
19. Étude No. 7 in C-sharp minor, Op. 25
20. Étude No. 8 in D-flat major, Op. 25
21. Étude No. 9 in G-flat major, Op. 25
22. Étude No. 10 in B minor, Op. 25
23. Étude No. 11 in A minor, Op. 25
24. Étude No. 12 in C minor, Op. 25

Review:
Amazon.com customer review:
John Browning died in 2003 at the age of 69; with his passing, we lost one of the true American greats. He belongs to the same generation as Gary Graffman, Leon Fleisher and Van Cliburn, but this CD in particular makes a compelling case for Browning as the finest of them all.

His ability to play the seemingly millions of notes in the twenty-four Chopin Etudes is only the beginning of the story, although it is quite an accomplishment itself; this was by far the most difficult music in existence at the time it was written in the 1830s, and it remains a monumental challenge. But these Etudes are more than merely splashy virtuoso showpieces of the Prokofiev or Khachaturian variety. They take elegance, grace, and above all the operatic touch. A pianist who cannot also sing in a variety of ways will be lost, and this is where Browning shines.

Listen to the "Revolutionary" Etude, Op. 10, No. 12; isn't the report of the right-hand chords interesting? It's crystal-clear, but the balance of the chords is shifted just a little bit so that it sounds slightly breathless, constrained, and desperate. It's a subtle touch that heightens the drama enormously, much in the way an actor will hone his delivery in subtle ways to express himself more poignantly. Or listen to the variety of touches and articulations in the F major etude, Op. 25, No. 3, which keep the repetitive rhythmical figure from getting stale. All of these are specifically requested by Chopin, by the way - most pianists make their own approaches based on feel, but Browning demonstrates that Chopin's directions, despite being rather dense and confusing at times, have their own logic.

Each etude is treated with a similar kind of love and dedication; there is not a weak track on this disc. As such, it represents a tremendous value and a more than worthy purchase.

Gramophone:


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Mozart - Piano Quartets

THE MOZARTEAN PLAYERS

Steven Lubin - fortepiano
Stanley Ritchie - classical violin
Myron Lutzke - classical violoncello
David Miller - classical viola

Harmonia Mundi HCX 3957018

Eac / Ape (img+cue+log) / Mp3 (lame vbr --alt preset)
Total playing time: 64:11
Covers & booklet included (scan @ 300dpi)

Recording:
December 1989, American Academy and Institute of Arts and Letters, New York

CD release:
1990, 2004

Info:
Mozart's two piano quartets were written in his middle Vienna years, during the enormously fertile period of the genesis of Figaro. He wrote them within nine months of each other: the G-minor Quartet (K.478) was completed on 16 October 1785, according to the autograph, and the E-flat-major Quartet (K.493) on 3 June 1786, according to Mozart's catalogue of his own works (no autograph for the second quartet survives).
The two piano quartets exhibit remarkable formal and stylistic similarities, which attests yet again to Mozart's tendency to tailor works in each genre according to patterns he deemed appropriate to each. The piano quartets are three-movement works like the sonatas and trios, and so make a more intimate impression than the larger chamber works with minuets, like the string quartets and quintets. Yet, many details give the piano quartets a high specific gravity that sets them apart from the smaller chamber works: the elaborate first movements, with complex contrapuntal developments and codas, implying mandatory second repeats; the deeply serious slow movements; and the highly evolved alla breve rondos characteristic of the mature Mozart. The E-flat-major Rondo in particular — with its gavotte-like half-bar upbeat, full-fledged development, and exhilarating coda — ranks with Mozart's greatest examples of the form.

Track listing:
1. Piano Quartet in E-flat major, K.493 - 1. Allegro
2. Piano Quartet in E-flat major, K.493 - 2. Larghetto
3. Piano Quartet in E-flat major, K.493 - 3. Allegretto
4. Piano Quartet in G minor, K.478 - 1. Allegro
5. Piano Quartet in G minor, K.478 - 2. Andante
6. Piano Quartet in G minor, K.478 - 3. Rondo

Reviews:
Gramophone:
These are affectionate and musically very aware accounts of two beautiful works. Steven Lubin's piano, built by R. J. Regier after a Walter instrument (the make Mozart used) of about 1785, is—at least as captured on this recording—softer in tone and milder in attack than most fortepianos of the period that I have heard, and this helps impart an unusual warmth to the performances, which is further enhanced by the quite exceptional smoothness and sweetness, not to say the graceful phrasing, of Stanley Ritchie's playing on his period violin and the gentle resonance of Myron Lutzke's cello.

The players' readiness of response to the music is unmistakeable, and it gives rise to many felicities—in, for example, the long lines of the first movement of K493 or the alert detail in the K478 Andante. Sometimes, however, it seems to lead to performances that do not quite come fully to grips with the music, through the softening of climaxes or, perhaps particularly, the loss of momentum. Steven Lubin makes a good deal of rubato, which sometimes sounds slightly mannered and is not always done in the Mozartian way (that is, as Mozart himself specified, within a strict pulse). In the finale of K493, for example, the music doesn't often really seem to get going, and when it does it soon relaxes again; this applies especially in the dialogue passages, where Lubin's anxiety to illuminate each phrase is apt to be self-defeating. He also has a tendency to spread or roll chords to make an expressive point, more often than to some listeners might seem tasteful. There are a lot of tiny hesitations to make musical points, again perhaps more than desirable in the interest of sustaining the momentum of a movement. One senses a certain impetuosity in his playing and some want of discipline and control in his handling of rhythm from time to time.

These performances are, however, alternatives well worth considering to the Archiv Produktion disc by Malcolm Bilson and his English Baroque Soloists colleagues, the richer and better recorded of the existing versions. Bilson's tempos tend to be on the deliberate side, and these are serious, large-scale readings; the Mozartean Players' performances are more relaxed—though, I should add, not without strong and powerful things (listen for example to the development of the first movement of the G minor work). My preference remains with the Bilson version, but anyone looking for rather gentler performances, which perhaps make more of the individual, passing beauties of these works as opposed to their breadth and grandeur, will find much to enjoy in this new issue.'


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Edgard Varèse - Arcana; Octandre; Offrandes; Intégrales; Déserts

Christopher Lyndon-Gee (dir.)
Polish National Radio Symphony Orchestra
Maryse Castets, soprano (Tracks 5-6)

Naxos 8.554820

Eac / Ape (img+cue+log) / Mp3 (lame vbr --alt preset)
Total playing time: 71:15
Covers & booklet included (scan @ 300dpi)

Recording:
Recorded from 25th - 29th April (Tracks 1-6) and 13th - 14th May (Tracks 7-14), 2000
Grzegorz Fitelberg Concert Hall, Katowice

Info:
The fact that the French-born American composer Edgard Varèse is deemed to be one of the most innovative and influential composers of the twentieth century is all the more remarkable when one considers that his œuvre consists of just a dozen works, the majority of which were written between 1920 and 1936. Yet his novel developments in the field of rhythm, form and timbre, his works often featuring richly coloured ensembles of wind and percussion, acted as a significant model for composers as diverse as Stockhausen, Xenakis and Birtwistle. The composer himself merely remarked that ‘Contrary to general belief an artist is never ahead of his time but most people are far behind theirs’.

Track listing:
1. Arcana
2. Octandre 1. Assez lent
3. Octandre 2. Tres vif et nerveaux
4. Octandre 3. Grave
5. Offrandes for Soprano and Chamber Orchestra 1. Chanson de La-haut
6. Offrandes for Soprano and Chamber Orchestra 2. La Croix du Sud
7. Integrales
8. Deserts 1.
9. Deserts 2. First Electronic Interpolation (beginning)
10. Deserts 3. First Electronic Interpolation (conclusion)
11. Deserts 4. Second Electronic Interpolation (beginning)
12. Deserts 5. Second Electronic Interpolation (conclusion)
13. Deserts 6. Third Electronic Interpolation (beginning)
14. Deserts 7. Third Electronic Interpolation (conclusion)

Reviews:
ClassicsToday:
Play this recording of Arcana next to the recent Boulez/Chicago on DG, and you're in for a big surprise. No, the Polish National Radio Symphony Orchestra isn't Chicago, and Naxos has paid for a recording of great immediacy and clarity of texture by accepting a very dry, attenuated bass. But musically, Christopher Lyndon-Gee blows Boulez away. His Arcana is only about a minute faster, but sounds about ten times more exciting, more dynamic, more rhythmically emphatic, more committed. Here is a conductor who understands what the composer means when he writes a triple forte, and he charts an unerring course from the pounding opening right through the mysterious closing bars.

The other works offer still more evidence of extraordinarily communicative musicianship. Tangy wind sonorities give a playful edge to Octandre's acerbic central movement, and a vocal, human warmth to its outer ones. Déserts, unlike the Boulez version, includes its taped interpolations and explores a stunning sonic landscape in which Lyndon-Gee's contributions sustain the work's atmosphere far more impressively. Intégrales reveals greater sensitivity to dynamic gradation than Boulez permits his Chicago players, and Offrandes' mysterious, sensual landscapes still mesmerize despite the dryness of the sound and the close-up focus on the otherwise fine soprano, Maryse Castets. In short, this wholly unexpected surprise of a disc will delight Varèse fans. You won't find Chailly's level of polish and sophistication, but Lyndon-Gee's interpretations offer a wholly winning freshness of their own. Now dare we hope for Amériques from these same forces?


Graham Dwyer, The Daily Yomiuri (Tokyo):
On this disc is a selection of the composer's works from his heyday, the 1920s, including such orchestral pieces as the substantial Arcana, three miniature movements of Octandre, the Offrandes for soprano and chamber orchestra, and Integrales. The CD rounds off with Deserts, composed in the 1950s after a long compositional silence and juxtaposing two-track tape with chamber music.

The two lyrical soprano movements of Offrandes (assuredly sung by France's Maryse Castets) are the most approachable works here, while most of the others reflect the musical crisis and search for a new artistic direction that faced the majority of composers in the first three decades of the 20th century.

Apart from a brief snatch of jazz in Integrales, this music is a mass of restless motifs, textures and rhythms set to a strident kaleidoscope of dissonance and timbre. Oddly attractive, though, are the tape movements in the Deserts, offering the kind of shadowy sounds that can be found in the likes of Tan Dun today. There are not many avant-garde composers that do not owe at least a little to this neglected and highly experimental composer. All credit to Naxos and the Polish National Radio Symphony Orchestra (under Britain's Christopher Lyndon-Gee) for giving us a chance to hear the works of a 20th-century original.

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Bach - Concertos

EUROPA GALANTE
Dir. Fabio Biondi

Fabio Biondi violin, direction
Alfredo Bernardini oboe
Sergio Ciomei harpsichord

Virgin Veritas - 45361-2

Eac / Ape (img+cue+log) / Mp3 (lame vbr --alt preset)
Total playing time: 60:46
Covers & booklet included (scan @ 300dpi)

Recording date:
Sion, (CH), Studio Tibor Varga, 5-9 March 1999

CD release: 1999


Track listing:
BWV 1052, 1054, 1056, 1060
1. Concerto for Violin and Oboe in C Minor Mvt1 Allegro
2. Concerto for Violin and Oboe in C Minor Mvt2 Adagio
3. Concerto for Violin and Oboe in C Minor Mvt3 Allegro
4. Violin Concerto in G Minor Mvt1 Allegro
5. Violin Concerto in G Minor Mvt2 Largo
6. Violin Concerto in G Minor Mvt3 Presto
7. Violin Concerto in D Minor Mvt1 Allegro
8. Violin Concerto in D Minor Mvt2 Adagio
9. Violin Concerto in D Minor Mvt3 Allegro
10. Harpsichord Concerto in D Major Mvt1 Allegro
11. Harpsichord Concerto in D Major Mvt2 Adagio e piano sempre
12. Harpsichord Concerto in D Major Mvt3 Allegro

Review:
Amazon:
Bach, like most Baroque composers, regularly adapted music that he had written previously for one context to be reused in another. For example, he adapted various movements from his cantatas for the Mass in B Minor; he reworked several of his trio sonatas for viola da gamba and keyboard; and he transcribed his Violin Concerto in E Major for harpsichord and strings. It has long been presumed that most of Bach's harpsichord concertos were composed originally for other solo instruments; latter-day musicians have back transcribed, as it were, a number of those concertos. Several of these transcriptions, along with the harpsichord version of the E Major violin concerto, get delightful performances on this release from charismatic violinist Fabio Biondi and his period-instrument ensemble Europa Galante. The transcriptions of the G Minor and D Minor harpsichord concertos seem quite credible; the transcription for violin and oboe of the C Minor Concerto for two harpsichords is even better, the soloists' lines being much clearer than is the case with two harpsichords tinkling away at each other. Biondi plays with more vibrato and more legato--in a more "Romantic" style, one might say--than most Baroque violinists; in some of the slow movements, he sounds almost like... well, if not Isaac Stern, then perhaps the young Yehudi Menuhin. It's as if he's the period-instrument violinist for those who never got used to the sound of period instruments. Yet Biondi plays with imagination and charisma, and Europa Galante (which does make a period-instrument sound) plays with the sparkling energy that seems to be the trademark of Italy's best Baroque groups. The recorded sound, unfortunately, is a bit flat and constricted; while this is a real shortcoming, it's not so serious as to prevent a warm recommendation for the excellent performances.

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The Harp Consort - Missa Mexicana

Missa Ego flos campi and songs by Juan Gutiérrez de Padilla; Songs & dances by Santiago de Murcia, Francisco de Vidales, others

The Harp Consort
dir. Andrew Lawrence-King (Spanish harp, organ, psaltery)

Ellen Hargis, Tuuli Lindeberg, Clara Sanabras (sopranos)
Jennie Cassidy, Veera Railio (altos)
Julian Podger, Ian Honeyman (tenors)
Paul Hillier, Paul Willenbrock (basses)
Steven Player, Lee Santana, Julian Podger, Clara Sanabras (Mexican baroque guitars)
Thomas Ihlenfeldt (Mexican guitar, theorbo)
Hille Perl (gamba, lirone, Mexican guitar)
David Yacus (sackbut)
Keith McGowan (bajón, shawms)
Adrian Rovatkay (bajón)
Michael Metzler (conch shell, percussion)
Ricardo Padilla (percussion)
Helen Coombs (organ, percussion)

Harmonia Mundi - HMX 2907293

Eac / Ape (img+cue+log) / Mp3 (lame vbr --alt preset)
Total playing time: 69:11
Full covers & booklet (scan @ 300dpi)

Recording date:
July 2000, l'Abbaye de Saint-Michel-en-Thiérache, Aisne, France

CD release: 2002, 2006


Track listing:
1. Villancico: Canten Dos Jilguerillos / Francisco Escalada
2. Kirie [Missa Ego Flos Campi] / Juan Gutiérrez De Padilla
3. Jácaras De La Costa / Santiago De Murcia
4. Xácara Los Que Fueren De Buen Gusto / Francisco De Vidales
5. Gloria [Missa Ego Flos Campi] / Andrew Lawrence King
6. Corrente Italiana / Juan Cabanilles
7. Xácara: A La Xácara Xacarilla / Juan Gutiérrez De Padilla
8. Credo [Missa Ego Flos Campi] / Andrew Lawrence King
9. Cumbées / Santiago De Murcia
10. Negrilla A Siolo Flasiquiyo / Andrew Lawrence King
11. Sanctus [Missa Ego Flos Campi] / Andrew Lawrence King
12. Marizápalos A Lo Humano: Marizápalos Bajó Una Tarde / Anonympus, 17th-C. Peru
13. Marizápalos A Lo Divino: Serafín Que Con Dulce Harmonía / Joan Cererols
14. Diferencias Sobre Marizápalos / Miguel Pérez De Zavala
15. Agnus Dei [Missa Ego Flos Campi] / Andrew Lawrence King
16. Guaracha Convidando Está La Noche / Juan García De Zéspedes

Review:
Classicstoday.com:
How much fun can you have listening to a recording? Well, this new release from The Harp Consort on Harmonia Mundi will strenuously test the limits of that question. There is so much musical variety and there are so many sonic delights here that you can't possibly take it all in on a first (or second) listen. Centered around a parody mass by 17th-century Spanish composer Juan Gutiérrez de Padilla--a musician of impressive skill who spent nearly 40 years as maestro de capilla at the Mexican cathedral at Puebla de los Angeles--this engaging program offers a taste of the unusually lively liturgical music scene that thrived in the New World during the 17th century.

If you can imagine popular dances occupying an important part of the church service--sandwiched between the mass movements were all manner of highly rhythmic and often textually suggestive, "worldly" songs--then you can begin to appreciate the incredibly colorful, atmospheric, and sonically alluring qualities of the villancicos, xácaras, marizápalos, and other idiomatic music offered here, in performances that never fail to hold our attention or keep us happily awaiting the next surprising sound or song. Just try to resist the seductive Madrid street song "Jácaras de la costa", or the "Cumbées", whose roots are so strongly African that you don't even have to wonder as to its origin. There are not only harps, but loads of guitars (six specially constructed, matched Veracruz baroque guitars), along with theorbo, gamba, organ, bajón, sackbut, shawm, and various percussion (and even a conch shell). There are singers--among them some of today's most experienced early music specialists--who really love to sing these sensual, expressive songs, and the instrumental work is unfailingly tasteful and stylish. The sound is ideal. Don't miss this very special, incomparable release, one of the outstanding discs of the year.

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Bach - Complete Harpsichord Concertos

TREVOR PINNOCK, harpsichord
KENNETH GILBERT, harpsichord
LARS ULRIK MORTENSEN, harpsichord
NICHOLAS KRAEMER, harpsichord
PHILIP PICKETT, recorder
RACHEL BECKETT, recorder

THE ENGLISH CONCERT
Dir. TREVOR PINNOCK

DG Archiv - 471 754-2

Eac / Ape (img+cue+log) / Mp3 (lame vbr --alt preset)
Total playing time: 199 min
Covers & booklet - English notes only (scan @ 300dpi)

Recording dates:
München, Herkulessaal der Residenz, 8/1979 (BWV 1052)
London, Henry Wood Hall, 2/1980 (BWV 1053-1055,1058), 10/1980 (BWV 1060-1062),
11/1980 (BWV 1056-1057), 2/1981 (BWV 1063-1065)

CD release: 2002


Info (from the liner notes):
Bach's concertos for one, two, three and four harpsichords have a twofold historical significance. Within the history of musical forms they initiated the genre of the keyboard concerto, which at the hands of the Viennese classical composers - continuing in the tradition of Johann Sebastian Bach by way of his sons Carl Philipp Emanuel and Johann Christian - was to become the most prominent type of solo concerto. In the context of Bach's own concertos, on the other hand, those for harpsichord are latecomers; they are the products of the last of the four phases of Bach's creative activity in the field of the instrumental concerto.


Track listing:
CD 1:
Cto in D minor BWV 1052: Allegro
Cto in D minor BWV 1052: Adagio
Cto in D minor BWV 1052: Allegro
Cto in E Major BWV 1053: without tempo indication
Cto in E Major BWV 1053: Siciliano
Cto in E Major BWV 1053: Allegro
Cto in D Major BWV 1054: without tempo indication
Cto in D Major BWV 1054: Adagio e piano sempre
Cto in D Major BWV 1054: Allegro

CD 2:
Cto for Harpsichord and Strings in A major BWV 1055 Allegro
Cto for Harpsichord and Strings in A major BWV 1055 Larghetto
Cto for Harpsichord and Strings in A major BWV 1055 Allegro ma non tanto
Cto for Harpsichord and Strings in F minor BWV 1056 without tempo indication
Cto for Harpsichord and Strings in F minor BWV 1056 Largo
Cto for Harpsichord and Strings in F minor BWV 1056 Presto
Cto for Harpsichord, 2 Recorders and Strings in F major BWV 1057 without tempo indication
Cto for Harpsichord, 2 Recorders and Strings in F major BWV 1057 Andante
Cto for Harpsichord, 2 Recorders and Strings in F major BWV 1057 Allegro assai
Cto for Harpsichord and Strings in G minor BWV 1058 without tempo indication
Cto for Harpsichord and Strings in G minor BWV 1058 Andante
Cto for Harpsichord and Strings in G minor BWV 1058 Allegro assai
Cto for 2 Harpsichords and Strings in C minor BWV 1060 Allegro
Cto for 2 Harpsichords and Strings in C minor BWV 1060 Adagio
Cto for 2 Harpsichords and Strings in C minor BWV 1060 Allegro

CD 3:
Cto for 2 Harpsichords and Strings in C major, BWV 1061, 1. [without tempo indication]
Cto for 2 Harpsichords and Strings in C major, BWV 1061, 2. Adagio owero Largo
Cto for 2 Harpsichords and Strings in C major, BWV 1061, 3. Fuga
Cto for 2 Harpsichords and Strings in C minor, BWV 1062, 1. [without tempo indication]
Cto for 2 Harpsichords and Strings in C minor, BWV 1062, 2. Andante
Cto for 2 Harpsichords and Strings in C minor, BWV 1062, 3. Allegro assai
Cto for 3 Harpsichords and Strings in D minor, BWV 1063, 1. [without tempo indication]
Cto for 3 Harpsichords and Strings in D minor, BWV 1063, 2. Alla Siciliana
Cto for 3 Harpsichords and Strings in D minor, BWV 1063, 3. Allegro
Cto for 3 Harpsichords and Strings in C major, BWV 1064, 1. Allegro
Cto for 3 Harpsichords and Strings in C major, BWV 1064, 2. Adagio
Cto for 3 Harpsichords and Strings in C major, BWV 1064, 3. Allegro
Cto for 4 Harpsichords and Strings in A minor, BWV 1065, 1. [without tempo indication]
Cto for 4 Harpsichords and Strings in A minor, BWV 1065, 2. Largo
Cto for 4 Harpsichords and Strings in A minor, BWV 1065, Allegro


Review:
Penguin Guide to Compact Discs:
"Trevor Pinnock plays with real panache, his scholarship tempered by excellent musicianship."

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