'These are infectious works, intended not to provoke but simply to delight, and in these elegantly shaped performances they do just that.' Gramophone
'...they respond to Reicha's easy-going charm with skill.' The Observer
Thalia Ensemble, whose prize-winning programme included works by Antoine Reicha, was praised by the jury for its beautiful ensemble sound, as well as the ensemble’s lively communication.
The competition is renowned for launching the careers of many notable ensembles, such as Palladian Ensemble, Profeti della Quinta and Ensemble Meridiana.
Premiered in Paris in the early nineteenth century these works were an overnight sensation, recognized across Europe as the pinnacle of their genre.
More than any other composer who wrote for winds, Reicha produced works that were hailed as worthy counterparts to the string quartet.
An experienced flautist, Reicha was able to craft quintets that successfully integrated each wind instrument, employing its unique character and technical anomalies to full effect.
As well as taking influence from his close acquaintances Haydn and Beethoven, Reicha’s melodic style is Mozartian in flavour, spiced with subtle chromatic tinges and quirky syncopations.
In addition to the quintets Reicha’s Adagio ‘pour le cor anglais’ is a fine addition to the programme.
Performing on this recording are: Belén Nieto Galán (flute), Sarah Aßmann (oboe and cor anglais), Diederik Ornée (clarinet), Hylke Rozema (natural horn) and José Rodrigues Gomes (bassoon).
View the booklet in full here.
About This Album
This album forms part of the Thalia
Ensemble’s prize as winners of the 2013 York
Early Music International Young Artists’
Competition. The biennial competition
for early-music ensembles takes place as
part of the York Early Music Festival and is
recognized as a major international platform
for emerging talent in the early-music world.
This recording was made at the National
Centre for Early Music, which is housed
in the converted church of St Margaret’s,
York. The NCEM offers excellent recording
facilities to musicians of all kinds. For more
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'...the Thalia Ensemble plays historic or period copy instruments - and very well too.'more >>Crescendo
« Comme souvent dans les interprétations « historiques », c'est l'indépendance des lignes qui est exploitée plutôt qu'une parfaite fusion des timbres. Mais si chaque musicien est à son tour soliste, les équilibres sont parfaitement réglés et les mélodies ressortent sans effort. Leur verve défend donc joyeusement cette musique sans prétention qu'on écoute avec plaisir. »more >>Fanfare
'The performances are spirited.'American Record Guide
'Rozema is solid on the natural horn, boasting a clean tone and superb technique...the group honestly
pursues good balance, blend, and phrasing...'Limelight Magazine
'Their performances, positively Baroque in their rhythmic bounce, have the beauty and intricacy of a music box - no gesture wasted, utterly charming to a fault.'more >>BBC Radio 3 ‘Record Review’
'It's great repertoire to have...I think [the G major Quintet] is worth hearing just for the bassoon.'The Arts Desk
'Do your bit for Reicha, and kick-start his revival by buying this charming disc.'more >>Musicalifeiten
„Zoals gelukkig zo vaak bij blaasensembles klinkt de opname vrijwel ideaal.”more >>The New Listener
„Wir hören mit den Musikerinnen und Musikern des Thalia Ensembles eine spannende und abwechslungsreiche Aufführung beider Quintette."more >>Early Music Review
'Thalia Ensemble imbued the music with considerable individuality...perhaps not since Mozart and not until Nielsen did anyone write such accomplished chamber music for winds.'more >>Gramophone
'These are infectious works, intended not to provoke but simply to delight, and in these elegantly shaped performances they do just that.'more >>The Observer
'...they respond to Reicha's easy-going charm with skill.'more >>