Praetorius/Vivaldi/Warlock Works arr guitar
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi, Peter Warlock, Michael Praetorius
Label: EMI
Magazine Review Date: 10/1994
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 555052-2
Tracks:
Composition | Artist Credit |
---|---|
Chamber Concerto |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Christopher Parkening, Guitar Iona Brown, Violin John Constable, Harpsichord Lionel Handy, Cello |
Capriol Suite |
Peter Warlock, Composer
Academy of St Martin in the Fields Christopher Parkening, Guitar Iona Brown, Conductor Peter Warlock, Composer |
Concerto for Mandolin and Strings |
Antonio Vivaldi, Composer
Academy of St Martin in the Fields Antonio Vivaldi, Composer Christopher Parkening, Guitar Iona Brown, Conductor |
Trio Sonata for Violin, Lute and Continuo |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Christopher Parkening, Guitar Iona Brown, Violin John Constable, Harpsichord Lionel Handy, Cello |
Terpsichore |
Michael Praetorius, Composer
Michael Praetorius, Composer |
Author: John Duarte
In the three predictable works by Vivaldi, Parkening is at his clean best when the pace is brisk enough to curb his more wayward stylistic leanings, though his rasgueado strumming of chords (the first intrusion is in RV93 at 2'26'') is inappropriate. When the tempo permits, the romanticism of yesteryear intrudes: over-sweet tone, dwellings on the 'pretty' notes, separation of bass and treble notes on the first beats of bars (as in the second movement of RV93) and the pronounced portamentos, uneasily married to some less-than-convincing embellishment in the slow movements.
In short, if you want these works in this form you have a good selection of better alternatives to choose from. Warlock's Capriol Suite is far more successful in all respects, another enjoyable way of hearing familiar music and a worthwhile one of extending the guitar's grazing land—providing that the annexed fields are wisely chosen, as here. Many guitarists have long regaled their audiences with arrangements of pieces from Praetorius's Terpsichore and found that they go down rather well; one can, however, have too much of a good thing—Parkening ends his programme with 11'54'' of it, complete with romantic overtones. The contribution of the ASMF is admirable, but that of the hype-written description of Parkening as ''America's preeminent guitar virtuoso'' poses a question—where does that leave Eliot Fisk, David Starobin, David Tannenbaum and several others?'
In short, if you want these works in this form you have a good selection of better alternatives to choose from. Warlock's Capriol Suite is far more successful in all respects, another enjoyable way of hearing familiar music and a worthwhile one of extending the guitar's grazing land—providing that the annexed fields are wisely chosen, as here. Many guitarists have long regaled their audiences with arrangements of pieces from Praetorius's Terpsichore and found that they go down rather well; one can, however, have too much of a good thing—Parkening ends his programme with 11'54'' of it, complete with romantic overtones. The contribution of the ASMF is admirable, but that of the hype-written description of Parkening as ''America's preeminent guitar virtuoso'' poses a question—where does that leave Eliot Fisk, David Starobin, David Tannenbaum and several others?'
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