in Early Music Today (Mar, 2012)
This is something of a breath of fresh air across the landscape of today’s baroque recording. The two upper voices of Paradiso Musicale are Dan Laurin’s recorder and Henrik Frendin’s viola, which thoroughly unconventional pairing gives them a fresh take on textural matters. They announce in their notes that in consequence of their line-up they ‘are free to play the music that we like’, and indeed, they do sound refreshingly free of conventional historical performance dogma and the shackles of the authenticity police. They would be open to the accusation of gimmickry were their performance of the work actually scored for them – the CPE Bach trio sonata for bass recorder …
J.S./Bach, C.P.E. Telemann/Bach : The Father, the Son and the Godfather
Georg Philipp Telemann (1681-1767)
Sonate pour flûte à bec, viole de gambe & continuo en ré mineur, TWV 42
Johann Sebastian Bach (1685-1750)
Sonate pour flûte and clavecin en si mineur, BWV 1030
Carl Philipp Emanuel Bach (1714-1788)
Sonate en Trio pour alto, flûte à bec basse & clavecin en fa majeur, H. 588, Wq. 163
Georg Philipp Telemann (1681-1767)
Sonate pour violoncelle & continuo en ré majeur (GMM n° 16), TWV 41
Carl Philipp Emanuel Bach (1714-1788)
Sonate pour viole de gambe and clavecin en sol mineur, Wq 88H 510
Georg Philipp Telemann (1681-1767)
Sonate pour flûte à bec, viole de gambe & continuo en sol mineur, TWV 42
Paradiso Musicale
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