In this first complete survey of the Boccherini symphonies, Johannes Goritzki's achievement is remarkable. Himself a cellist, he shows a natural feeling for Boccherini's special combination of galant and classical styles, revealing the music's strengths rather than its weaknesses, making the most of its colour and revelling in its fecundity of invention and easy tunefulness. The playing - on modern instruments - of the German Chamber Academany Orchestra of Neuss is alert, polished and warmhearted, besides showing a nice feeling for Boccherini's delicate Andantinos, which are never sentimentalized. The recording is excellently balanced and has plenty of life and bloom (Penguin Guide To Compact Discs)
This recording features World Premiere recordings of works by Boccherini and his contemporaries Facco, Porretti and Vidal. The Boccherini 'Sonata in c minor' was only discovered in March of 2004. Facco's 'Balletti for Two Cellos' are the first known works for the instrument to have been composed in Spain.
"Ensemble 415 is a chamber ensemble devoted largely to the performance of Baroque music on period instruments. The numerical reference in the group's name derives from the pitch used for tuning instruments in the Baroque era. In performing chamber music, Ensemble 415 consists of just a few players, but for larger compositions, the number expands to a minimum of 13 and can reach up to as high as 40 performers. The ensemble's repertory has been broad over the years, taking in many Baroque standards by J.S. Bach, Vivaldi, and Handel, as well as lesser known fare by Muffat and others…"
"These recordings by the Flieder Trio were taped way back in 1990 but the passing of more than two decades has not dimmed the refreshingly spontaneous playing that is coming "straight from the heart", and the spirited and consistently brilliant interpretations are still as alluring as ever before. A generously filled well annotated disc that should fill one of the many gaps in the Boccherini discography. Recommended, even to die-hard periodists." ~ classical.net
There is a touch of the impetuous about Richard Lester's playing of these sonatas which seems to me to capture very happily their character: their somewhat wayward invention, their sense of being formalized versions of a cellist's improvisations. The momentary hesitancies hint at the playercomposer who is deciding as he goes which of the ideas in his mind to try out next. Yet beneath it is a strong rhythm and a very sure compositional technique. The music is very high lying: the cellist has prolonged spells in high thumb positions with quite rapid passagework, and these Lester executes with great brilliance and crispness — there is just one passage, in the finale of the C major work, where accuracy of intonation momentarily eludes him, but otherwise one cannot imagine playing of greater exactitude.