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Johan van Veen
musica Dei donum, June 2019

Instrumental Ensemble Music (Baroque)—LULLY, J.-B. / TELEMANN, G.P. / RAMEAU, J.-P. (The Lully Effect) (Indianapolis Baroque Orchestra, Kuijken) 8.573867
Orchestral Music (Baroque)—LULLY, J.-B. / MUFFAT, G. / MARAIS, M. (The Versailles Revolution) (Indianapolis Baroque Orchestra, Kuijken) 8.573868

The players of the Indiana Baroque Orchestra deserve much praise for their willingness to accompany Kuijken on his travels in the world of Lully and his sphere of influence. Their account of these orchestral suites is excellent.

This is a most interesting and stimulating development, which could change our perception of French music under the ancien régime. These two splendid discs attest to that. © 2019 musica Dei donum Read complete review



Raymond Tuttle
Fanfare, May 2019

The playing is assertive and clean, and the sound surprisingly large—which supports this disc’s premise, after all. Seventeen musicians are listed, which might not seem like a lot, but they make a brave and even at times war-like noise. At the same time, selections such as an “Air pour les flutes” from Marais’s suite are played with tenderness that might leave you breathless.

…This CD is self-recommending. © 2019 Fanfare Read complete review



John W Barker
American Record Guide, March 2019

The first program offered music by Lully himself, Telemann, and Rameau. This one again presents three examples, a little bit more balanced. There is an orchestral suite from Lully’s opera Roland There is a French-style suite, Nobilis Juevntus, from the Florilegium Secundum of Georg Muffat. And there is an orchestral suite from the opera Ariane et Bacchus by Marin Marais—at 28 minutes, the longest item here. © 2019 American Record Guide Read complete review on American Record Guide




Steven A Kennedy
Cinemusical, January 2019

The Indianapolis ensemble is a superb choice to explore this repertoire and the pieces here are all quite exquisite examples of the period. Articulations are all quite clean and the group seems to move and breath their phrases as a single unit making for some rather exhilarating playing in the faster moments. But it is really in the lyrical ideas where the music really shines with beauty and just the right touch of emotion. © 2019 Cinemusical Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, January 2019

It takes the care and detail of Kuijken and the Indianapolis Baroque Orchestra to make this music stand out as the exceptional thing it is. This and the previous volume are indeed milestones of their kind. It brings the orchestral French Baroque to us as it truly was meant to be heard.

And for that both are highly recommended! © 2019 Gapplegate Classical-Modern Music Review Read complete review



Records International, December 2018

Another disc of “Tragédie Lyrique Without Words” from these performers as Lullian influence is traced through works of his various successors. © 2018 Records International



Brian Wilson
MusicWeb International, November 2018

Despite the rarity of these works, all the music breathes the spirit of the French court and, with the influence of Lully clearly at work throughout, this is if anything even more tempting than the earlier CD. Very fine performances and recording make it all the more desirable. © 2018 MusicWeb International Read complete review



David Denton
David's Review Corner, November 2018

Though born in Italy, Jean-Baptiste Lully’s domination of music in 17th century France was so total, he brought about a revolution that echoed around the world. It was achieved by his musical and theatrical talent, and by a ruthless pursuit of power that came from his high station in the Royal Court of Versailles, where he was to change the art of dancing into a grand spectacular. That same feeling for drama he took into his operas, having composed a new one every year for the fifteen that led to up to his death in 1687. His name was sufficient to commanded theatres in Paris to premiere his works, though for the serious Roland, he returned to Versailles following the death of the Queen, Marie-Therese. In Lully’s court orchestra was the young Marin Marais whose life was totally influenced by the music of his senior colleague. Now mostly remembered for his viola da gamba music, he worked with Lully’s son, Louis, on opera projects including the 1696 Ariane et Bacchus. Whether the German-born, Georg Muffat, also studied with Lully is uncertain, but his music was, in every respect, a clone of Lully, the second book of Florilegium taking us on a tour of dance music from around Western Europe. To have all three linked composers on one disc is most apt, though the choice of programme for the disc is mostly in dance rhythm. The distinguished Belgium flautist, Berthold Kuijken, has brought together period instrumentalists to form the Indianapolis Baroque Orchestra, the gut strings adding a nice pungency to the sound. The engineering is rather one-dimensional, but easy on the ear. © 2018 David’s Review Corner





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