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Hyperion Records

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The Rehearsal (detail) by Etienne Jeaurat (1699-1789)
Private Collection. Copyright Gavin Graham Gallery, London / Bridgeman Art Library, London
Track(s) taken from CDA67646
Recording details: April 2007
Oratorio di S Domenico, Pisa, Italy
Produced by Sigrid Lee
Engineered by Roberto Meo
Release date: March 2008
Total duration: 11 minutes 27 seconds

'These are delightful works played with a persuasively affectionate period-instrument style, with a felicitous lead from the nimble and gently expressive flautist, Carlo Ipata. Hyperion do the players proud in their debut recording; we shall surely hear more of them' (Gramophone)

'These are enjoyable performances. No 4 is particularly attractive, with its beautifully paced Adagio assai, lyrical flute and virtuoso cello playing' (Early Music Review)

'Listening to these six quintets, one is immediately captivated by a charm and invention that, while of a different nature, easily equals that of Haydn or Mozart … the playing is exceptional … beautifully recorded in the Oratorio di S Domenico, Pisa, this is an auspicious debut for Auser Musici on Hyperion. Further recordings are planned—let's hope we don't have to wait too long for them' (International Record Review)

'I was pleasantly surprised with this disc. The music is typical Boccherini, charming and with a certain amount of energy … but the performances by Auser Musici flow beautifully. They have both inner energy and a smile' (Fanfare, USA)

'Finest of all is the opening Allegro of the G minor Quintet, a movement of tensely swirling, surging passions. The Italian ensemble Auser Musici … capture admirably the spirit of Boccherini's multi-faceted world' (Goldberg)

Quintet for flute and strings in B flat major, G429
composer
Op 19 No 5

Allegro moderato  [8'21]
Presto assai  [3'06]

The six Op 19 quintets cover a wide range of character and display all the resources, technical as well as expressive, common in the composer’s major works. In particular, Boccherini does not sacrifice his typical ‘symphonic’ concept of chamber music (octave doublings, full ‘orchestral’ chords and so on) while emphasizing the role of the flute. Nevertheless, the string-writing is fully integrated into the texture, rather than being of the more ‘insignificant’ type associated with concertos of the period. Two of the quintets (Nos 3 and 4) have virtuoso writing for the cello, Boccherini’s own instrument, that calls for an outstanding player.

In terms of the succession of movements, these works can be subdivided into three groups, with the sixth quintet being a special case. The first two quintets follow a ‘fast–fast’ pattern (with a minuet as the second movement), the third and fourth (the ‘flute and cello’ quintets) are ‘slow–fast’ (ending with a Rondeau grazioso and a Minuetto con moto respectively), and the fifth progresses from ‘fast’ to ‘faster’, being sealed by a breathtaking Presto assai. The second quintet is the only one in a minor key: it has a particularly dramatic first movement, in contrast with the sunny character of the first quintet.

from notes by Marco Mangani © 2008

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