Track Listing

1. Buffardin- Concerto 5- Allegro Non Molto
2. Buffardin- Concerto5- Andante
3. Buffardin- Concerto 5- Vivace
4. Boismortier- Concerto Op. 26 No. 6allegro
5. Boismortier- Concerto Op. 26 No. 6- Largo
6. Boismortier- Concerto Op. 26 No. 6- Allegro
7. Corrette- Concerto Comique No. 25-Les Sauvages- Allegro
8. Corrette- Concerto Comique No. 25-Quand On Scait Aimer Et Plaire- Andante
9. Corrette- Concerto Comique No. 25-La Furstemberg- Allegro
10. Quentin- Concerto In D Major- Allegro
11. Quentin- Conerto In D Major- Adagio
12. Quentin- Concerto In D Major- Moderement
13. Quentin- Concerto In D Major- Aira
14. Quentin- Concerto Op. 12 No. 1- Largo
15. Quentin- Concerto Op. 12 No. 1- Allegro
16. Quentin- Concerto Op. 12 No. 1- Adagio
17. Quentin- Concerto Op. 12 No. 1- Allegro
18. Blavet- Concerto In A Minor- Allegro
19. Blavet- Concerto In A Minor-Gavotte I- Ii
20. Blavet- Concerto In A Minor- Allegro

Product Details

• Amazon Sales Rank: #89501 in Music
• Released on: 1995-01-09
• Number of discs: 1
• Format: Import
• Dimensions: .22 pounds

Customer Reviews

Spirited Performance with Baroque Sparkle
French Baroque Concertos. Music by the composers Pierre-Gabriel Buffardin (ca. 1690 - 1768); Joseph Bodin de Boismortier (1689 - 1755); Michel Corrette (1709 - 1795); Jean-Baptiste Quentin (ca. 1718 - 1750) and Michel Blavet (1700 -1768). Performers: Musica Antiqua Köln [Cologne] [Wilbert Hazelzet, traverso; Reinhard Goebel and Hajo Bäss, baroque violin; Karlheinz Steeb, viola; Jaap ter Linden, violoncello; Jean-Michel Forest, violone; Henk Bouman, harpsichord], dir. Reinhard Goebel. Recording: April 1981 und June 1982 in the "Plenarsaal", Munich, Germany. First published: 1982/3. Re-released on Archiv Masters 447 286-2. Total playing time: 73'10".

In his notes, Reinhard Goebel points out that the concerto of the Italian kind only became popular in France from 1725 onwards and that there are relatively few genuine French concerti from this period - so that of the six pieces on this recording, only two (the concerti by Blavet and Quentin) can strictly be counted as such, the other works presented here belonging to the transitional phase between the suite or sonata and the concerto. For all that, Musica Antiqua Cologne has managed to put together a very pleasing selection of pretty, sometimes playful pieces which, thanks also to the spirited performances, are burnished with baroque sparkle. No matter whether you enjoy this CD as elegant background music or listen intensely to every detail, its wholesome harmonies are bound to charm and delight. In the Buffardin (he was a flautist at the Court of the Prince of Saxony in Dresden and the teacher of no less a flautist than Frederick the Great's mentor Quantz) and the Blavet it is the incredibly skillful and musical flute playing of Wilbert Hazelzet which leaves a lasting impression; in Corrette's "Concerto comique" it is the charmingly playful violin(s) which take the forefront, as also in the two pieces by Quentin. In the short interlude by Boismortier, it is the violoncello which develops a soloist's ambitions.
All in all, this means there is plenty of variety without biting contrast. Baroque enthusiasts should have no reservations!