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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 41 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 D major 'Las Parejas', G430
composer
Op 19 No 6

Galope  [3'38]

The sixth piece of Op 19 deserves particular attention. The autograph score bears the title Las Parejas (‘The couples’), and each movement has a subtitle: a six-bar Entrada is immediately followed by a Marcia and a Galope; then, after a double re-exposition of the Entrada, there is a restatement of the Marcia, without repeats. The title refers to a typical Spanish horse race, in which two horsemen run hand in hand. This is the sort of ‘descriptive’ music where Boccherini was such a master (think also of his celebrated Musica notturna di Madrid). Such descriptions are among the most challenging features of Boccherini’s music. The edition of this quintet by La Chevardière lacks the general title while retaining the subtitles of each movement; perhaps Boccherini considered the explicit reference of title, intended for the Spaniards, as something unsuited to the French public.

from notes by Marco Mangani © 2008

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