español | français Medieval Renaissance Baroque Clasicism Opera  5 STARS All periods MEDIEVAL RENAISSANCE BAROQUE CLASICISM OPERA DELIGHT IN DISORDER HENRY LAWES, WILLIAM LAWES, NICOLA MATTHEIS, MATTHEW LOCKE, JOHN COPERARIO, HENRY PURCELL, ANONIMO Pedro Memelsdorff, Andreas Staier Deutsche Harmonia Mundi 05472 77318 2 1994 - 70:32 min. Aside from Pedro Memelsdorff's adventure at the helm of Mala Punica, which was not exempt from polemic, there is no doubt that he is one of the best recorder players around at the present. His refined technique and brilliant imagination, make him an ideal performer of the late-Renaissance and Baroque repertories, the period in which the recorder came into its own. It is perhaps worth recalling that recorder soloists were first in demand in European courts around the middle of the 15th-century and that the use of this instrument in the recreation of music predating this period is somewhat out of place. On the other hand, the recorder is in its element in the 17-century repertory. Both Memelsdorff and Staier are magnificent, and the former's show of virtuosity is particularly noteworthy. To give just one example, in the Passages imitating the trumpet by Nicola Mattheis, in which the harpsichord is used merely to accompany the recorder's attractive melody, each and every note can be clearly distinguished, despite the extraordinary speed at which it is performed, as a result of Memelsdorff's refined technique. Pieces such as the Fantasia and Suite in A by Matthew Locke reveal a communicative recorder player, and others, such as the anonymous The Black Joak, show a sensitive artist, whose good taste and versatility would have delighted any European court from the middle of the 17th-century. MARICARMEN GÓMEZ ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com