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Boccherini: Clavier Quintets (Complete)
 
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Boccherini: Clavier Quintets (Complete) [Box set]

~ Luigi Boccherini (Composer), Ensemble Claviere (Ensemble), Ilario Gregoletto (Piano)
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Composer: Luigi Boccherini
  • Audio CD (5 Sep 2006)
  • Number of Discs: 4
  • Format: Box set
  • Label: Brilliant
  • ASIN: B000GYHR0Q
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 363,781 in Music (See Bestsellers in Music)

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Disc: 1
1. Allegro Comodo
2. Adagio
3. Minuetto. Con Moto
4. Allegretto
5. Allegretto
See all 11 tracks on this disc
Disc: 2
1. Lento
2. Allegretto
3. Allegro Assai
4. Andante Sostenuto
5. Minuetto. Allegro
See all 13 tracks on this disc
Disc: 3
1. Allegro Moderato
2. Minuetto - Tempo Giusto, Trio
3. Andantino, Con Un Poco Di Moto
4. Allegro Giusto
5. Allegretto Moderato
See all 13 tracks on this disc
Disc: 4
1. Allegro Giusto Ma Con Vivacita
2. Largo Cantabile
3. Finale. Allegro Assai
4. Allegro Sostenuto E Imperioso
5. Adagio
See all 10 tracks on this disc

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8 of 28 people found the following review helpful:
5.0 out of 5 stars GRAZIOSO, 1 Jan 2007
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
On top of their marvellous set of Haydn's piano trios Brilliant Classics are now offering us the complete piano quintets of Boccherini, brilliantly priced again at that. There are 12 of them, 3 per disc, all apparently from the same period of the composer's life. That might account for the lack of a sense of development in the musical idiom here, but I'm not sure I ever detected that in Boccherini to any great extent anyhow. Boccherini was 11 years Haydn's junior and 13 years older than Mozart. He was no Haydn, still less was he any Mozart, but his quintets have the easy and natural grace that seems to have been the 18th century's birthright when it came to music. They are a kind of musical blancmange - smooth, sweet, easy to take in, totally consistent and of course totally unchallenging to the listener. The melodic lines are unfailingly beautiful, and one expressive feature that Boccherini knows how to use effectively is modulation. For the most part this consists of coming to a full stop in one key and resuming in the contrasted key, but there are a few seamless transitions too. The instrumental writing is dulcet but unadventurous - the first violin gets most of the melody, the fortepiano has more of a role as accompanist and provider of supporting harmony than in Haydn's trios, and the cello is given a little more prominence than Haydn gives it, as is not surprising given that the composer was himself a cellist. For all that, the cello parts seem technically undemanding so far as I can tell, and I imagine that this is because the instrument was still comparatively new and there were probably few players of any great proficiency to be found.

The five instruments used are contemporary with the composer. The players (all with Italian names) were not previously known to me, but I am thoroughly glad to make their acquaintance here, and they do a first-class job in my own opinion. Tempi for one thing are very nicely judged, the technical proficiency and sense of style seem to my ears absolutely spot on, and I was never in the slightest danger of being bored by what I was hearing. The recordings were done over two sessions in 2005, its quality is discreet and well judged, and I would even say that for music-lovers still a little dubious about `period' instruments and `authentic' renditions, this might be as good a place as any to learn to relax with the general style.

Even the packaging of the set is excellent. The four discs are compactly presented in a stiff cardboard box, and the four envelopes containing them are slightly less sturdy than in the set of Haydn trios - to their entire advantage, I should say, as these cd's are much easier to extract and harder to mishandle accidentally. The liner-note by Emanuel Overbeeke is actually very thoughtful and interesting, but be warned that he's a bit of a wild man with a generalisation. When he tells us that the `classical' style involved more elaborate melody than the baroque style did I'm not sure what he means. If he's saying that the melody of Mozart and Beethoven was more elaborate than Bach's that seems to me plain nonsense. Again, what he says about bar-lines in only very partially true. It will do for Bach in the main, but not for Handel. It is characteristic of Handel's triple-time cadences that the last two bars of ¾ are really a single bar of 3/2, as in `And the glory of the Lord shall be revealed', and Handel will override bar-lines completely when it suits him, as at `The stars with deep amaze' in Samson. For all my pedantry over this I found his contribution very useful, although when he says that all these compositions have four movements don't believe him (not that it matters) - to find that most consist of four but some have five or three the heart of man need not be sore and is not like to be.
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Boccherini: Clavier Quintets (Complete) 5.0 out of 5 stars (1)
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