Word: concerti
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Dates: during 1950-1959
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...Handel:Concerti Gross! Opus 6(1 Mu-sici Ensemble; Epic). A mixture of exuberant passages, serene fugues and multivoiced instrumental harmonies, Handel's Concerti Nos. 4, 9 and 10 get the electric tempo they deserve from a brilliant ensemble that was launched in Rome...
...Corelli: Concerti Grossi Opus 6 (Chamber Orchestra of the Societas Musica, directed by Jorgen Ernst Hansen; Vanguard, 3 LPs). An expert in the concerto-grosso form (where a group of solo instruments maintains a dialogue with an orchestral ensemble), Corelli was also the first to relax the strict contrapuntal style of his era, is shown in this recording to have mastered the full scope of string sonorities by making violins sound like a full-voiced choir...
...Vivaldi: Concerti (I Musici Ensemble; Epic). Five works for violins, cellos and strings by an Italian composer, the bulk of whose works remained unpublished until the late 19405. Since then, Vivaldi has been recognized as a topflight composer; he switches from gentle, birdlike flutterings to rough bearlike thumpings with masterful agility...
Bonporti: Concerti a Quattro (I Musici Ensemble; Epic). Four of the ten polyphonic concertos, marked Opus n by a recently discovered Italian Jesuit philosopher whose lifelong ambition was not to compose music but to become canon at the Cathedral of Trento. Bonporti (1672-1749), who remained an ordinary priest and died brokenhearted, abandoned Corelli's standard concerto-grosso form, loaded his dialogues between violins, violas and bass with such a personal, rhythmic melody that he became a forerunner of 19th century romanticism...
Pianist Robert Freeman has just completed a thesis on the cadenzas to the Mozart Piano Concerti; he must have been discouraged with what he found, as he wrote his own for the performance of the Concerto No. 24. They were short and well suited to the work, which he played magnificently. His touch was sparkling or tender as called for, and his interpretation showed meticulous care. The Orchestra was fine behind him, and, except for a tempo disagreement in the last movement, the rhythms were taut and exciting...