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Hyperion Records

CDH55020 - Favourite Baroque Classics
(Originally issued on CDA66600)

Recording details: March 1992
All Saints' Church, East Finchley, London, United Kingdom
Produced by Arthur Johnson
Engineered by Antony Howell
Release date: May 1999
Total duration: 78 minutes 59 seconds

'This disc deserves to go to the top of the charts' (Early Music Review)

'Fine performances from the Brandenburg Consort, excellent documentation. A good CD to start a Baroque collection' (Classic CD)

'This disc can be highly recommended as one of the best in the field' (Fanfare, USA)

Favourite Baroque Classics
Other recommended albums
'Handel: Music for royal occasions' (CDA66315)
Handel: Music for royal occasions
Buy by post £13.99 (ARCHIVE SERVICE) CDA66315  Archive Service  

Introduction  EnglishFrançaisDeutsch
Over the last thirty years or so there has been an enormous rise in the popularity of Baroque music—that is, broadly speaking, the repertoire composed between 1600 and 1750. Vivaldi’s Four Seasons has become a ‘chartbuster’, the Pachelbel Canon and ‘Albinoni’s Adagio’ have individual name slots on the CD shelves (where did you discover this disc?), Bach’s ‘Air on the G string’ provides a soothing backdrop for a famous TV commercial, and Charpentier’s Te Deum spawned the Eurovision theme tune!

The renewed interest in this repertoire has been further enhanced by the use of eighteenth-century instruments, recreating the performance practices of the past in a way which many listeners find both invigorating and refreshing.

Furthermore, the structure of many of these compositions, with a strong foundation on the bass line, regular pulse and repeated rhythmic patterns (and, of course, memorable melodies), has much in common with the popular music of the twentieth century, and the freedom of gesture and ornamentation often brings us close to the world of jazz.

This is especially true of such musical forms as the rondeau—a piece with a recurring tune—and the ground bass, passacaglia and chaconne, which feature prominently on this disc. Naturally the selection here represents a personal choice of ‘Baroque pops’, some already well known, others still to be discovered. All of the items here (except the second) are presented in recordings made especially for this compilation. As you can imagine, this was something of a logistical nightmare, but the layout of the programme has been designed with the listener in mind and the varied sequence has been specifically grouped for continuous listening (if you wish).

Roy Goodman © 1999

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