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Hyperion Records

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Track(s) taken from CDA67359
Recording details: July 2002
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: March 2003
Total duration: 5 minutes 15 seconds

'beautifully lyrical trumpet-playing' (BBC Music Magazine)

'Fascinating … Crispian Steele-Perkins and Alison Balsom play with an assured virtuosity' (The Daily Telegraph)

'It comes as no surprise to have a well researched, well presented and beautifully played issue from this team of artists and recording company. The trumpeters, representing the pioneering and the newest generations of players, are well matched and sparkling in their duets and share the solo works equally. It scarcely needs it, but this gets the warmest of recommendations' (Early Music Review)

'Soloists Crispian Steele-Perkins and Alison Balsam play with utmost delicacy and control' (Early Music Today)

'exemplary performances … The disc as a whole is not only extremely enjoyable in its own right, but is of value for illuminating a major development in the history of instrumental music' (Goldberg)

'Steele-Perkins and Balsom play throughout this recording as robustly and as sensitively as one could wish … Buy this disc' (Early Music)

Sonata in E minor, Op 10 No 17

Introduction  EnglishFrançaisDeutsch
The sonatas by Legrenzi and Scarlatti are densely contrapuntal, though they are quite different in style. Legrenzi was working in Venice in 1673, when he published his Op 10, and dedicated the collection to the Austrian emperor Leopold I, which is presumably why it includes two sonatas for four viols and continuo. Viols were largely obsolete in Italy at the time, but were still cultivated a good deal in Austria. This is probably why the sonata recorded here was printed in a double-clef format, allowing it to be played in C minor on viols and in E minor by a string quartet. In the work Legrenzi achieves a remarkable synthesis between the contrapuntal idiom of the Renaissance and the chromatic harmony of his own time.

from notes by Peter Holman © 2003

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