Texte paru dans: / Appeared in:

GRAMOPHONE ( 06/ 2019)
Pour s'abonner / Subscription information

Channel Classics

Code-barres / Barcode : 723385418191


Outil de traduction (Très approximatif)
Translator tool (Very approximate)

Reviewer: Charlotte Gardner

This latest from Florilegium is such a musicological feast that it had three-quarters won me over before I even pressed ‘play’. It is a wide-ranging two-disc celebration of Frederick the Great’s talents as a connoisseur of music and talent-spotter of luminary-calibre musicians, taking in names such as Johann Gottfried Müthel and Franz Benda alongside the expected likes of CPE Bach and Johann Joachim Quantz.

Harpsichordist Terence Charlston opens the programme alone with the three-part fugue from JS Bachs Musical Offering in a flowing reading carrying a satisfying impression of grandeur and cathedral-like architecture. Next to be honoured is Fredericks flute teacher Quantz, by means of a trio sonata probably written during his pre-Berlin Dresden years. Here it comes silken and rapport-filled, Charlston joined by flautist Florilegium founder Ashley Solomon, violinist Bojan Čičić and viola da gambist Reiko Ichise, with nicely weighted engineering allowing everyone to shine. A Graun double-bill then acts as cellist Jennifer Morschess entry cue, with a nimbly graceful reading of Carl Heinrich Grauns cello sonata followed by an unusual quintet from his older brother Johann Gottlieb Graun, where some of the most characterful moments come via its leaping cello flourishes.

Its the second disc where things get especially interesting, though. Take the sweetness and fluidity with which Čičić brings off the sonata by Benda, the violinist-composer who Frederick engaged after hearing him practising through an open window. Or listen to the only flute sonata written by Müthel, who is interesting for being a composer who refused to compose on demand but only at the call of his inner muse, and whose musical style was described by an admiring Charles Burney as full of novelty, taste, grace and contrivance the passages are entirely his own. Solomons reading is beautifully rhapsodic. Unusually, it appears here with clavichord accompaniment in recognition of Müthels preference for this instrument over the more usual harpsichord; and the wonderfully free, improvisational quality Julian Perkins brings to his duetting with Solomon makes this one of the albums highlights. We also have Perkins to thank for another of the discs standout works, this one a set of clavichord variations by the equally fascinating figure of Carl Friedrich Fasch. Primarily a champion of others (founder of the Berlin Singakademie and arranger of the Berlin premiere of Mozarts Requiem for his own funeral), Fasch was a self-critical personality who was reluctant for his own works to be performed in public. But while these sunnily lilting variations are hardly a masterpiece, they allow both the clavichord and its player to show their capabilities, and Perkins explores his instruments full gamut of colours and personalities.

There is also something rather fun about the perfect, low-key climax to this array of intimate chamber treasures being courtesy of court maverick CPE Bach. His delicate G major Duet for flute and violin is one of only two known surviving duets of his, and Solomon and Čičić bring it off as an alertly intelligent and sensitive conversation.

Sélectionnez votre pays et votre devise en accédant au site de
Presto Classical
(Bouton en haut à droite)

Pour acheter l'album
ou le télécharger

To purchase the CD
or to download it

Choose your country and curency
when reaching
Presto Classical
(Upper right corner of the page)


Cliquez l'un ou l'autre bouton pour découvrir bien d'autres critiques de CD
 Click either button for many other reviews