Studio recording with Portland Baroque Orchestra in fall 2013, the CD features PBO artistic director Monica Huggett leading the ensemble and performing as soloist on the C minor concerto for Violin and Oboe with Ruiz. The first recording by world-renowned oboist Gonzalo X. Bach: Concertos for Oboe and Oboe d’amore Extensive liner notes by Jude Ziliak produced by award-winning producer and Baroque oboist Gonzalo X. This collection one part of Bach’s creative output in Leipzig’s Collegium Musicum combines his idiomatic concertos for violin with reconstructions: concertos Bach originally wrote for violin, reverse-engineered from later arrangements made for other instruments. Award-winning Baroque violinist and artistic director Monica Huggett leads Portland Baroque violinists Carla Moore, Rob Diggins, Jolianne Einem, and Adam LaMotte. Bach: Concertos for One, Two and Three ViolinsĪfter 2010’s gorgeous “Flights of Fancy”, named Record of the Year by The New Yorker, leading period ensemble Portland Baroque Orchestra releases its latest recording of concertos for one, two, and three violins by J. The Siciliana variation (7’00”) is especially refreshing.To purchase any recording, please call 50 today! In the opening track of the album, “La Follia,” one never tires of hearing variations on the same sixteen-bar phrase, Schayegh imbuing each with a new mood. In the Largos and Adagios, her embellishments are expressive and sit comfortably among a longstanding Baroque tradition.

Short, fast quarter notes vibrate with appropriately subtle vibrato. In the allegros, Schayegh’s phrases are long and not interrupted by the demands of the bow or position shifts. A Baroque specialist who studied, along with the rest of Musica Fiorita’s musicians, at the Schola Cantorum in Basel, Switzerland, her playing is remarkably smooth and inventive. Schayegh’s playing deserves quite a bit of praise as well. The autumnal hunt (track 10) is the perfect balance of jaunty and refined, which is to say, the ensemble has perfectly balanced staccato and legato attacks. The eighth rests in the first movement (track 5) feel like eternities, as if the heat is so oppressive that the group can barely bring themselves to play the next pair of notes, and the ensuing thunderstorm (track 7) is no less convincing. The group’s Summer is one of the most languorous available, as they imagine themselves out of breath and exhausted.

Best vivaldi four seasons recordings