With Foreword and Critical commentary for 2nd Sonata in C major.
The perfectly formed contrapuntal interplay, the compact shaping of the movements show Boni to be a profound connoisseur of the high baroque Italian composer's style.
Legrenzi's polyphonic chamber sonatas are not only captivating because of their contrapuntal facture, they take us into a new age of 'dramatic melody'.
Legrenzi's music-historical significance culminates in the fusion of the vocal voices with the concertante instruments. We also encounter the 'dramatic' melody in the chamber sonatas.
Legrenzi is considered an innovator of instrumental music. The transformation away from the 'style alla Palestrina' to the 'Concerto die Messa' is characteristic of the detachment from the dominance o...
Hardly anyone among the traveling flute virtuosos of the early 18th century wrote more beautifully for the recorder than J.Chr. Schickhardt. In his sonatas and trios he knew how to capture once again...
The melodic inventiveness of the 'Amuzettes' is indebted to the taste of the Parisian salon. The characterizing 'Zeitvertreib' titles reflect the noble grace and playfulness of the 'very light'-flavor...
Sonata I: G major; Sonata II: d minor; Sonata III: a minor
Sonata IV: C major; Sonata V: B flat major, Sonata VI: C major
Sonata VII: g minor; Sonata VIII: F major; Sonata IX: g minor
