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  • Thomas Arne: Six Favourite Concertos (The English Orpheus, Vol. 7)
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Thomas Arne: Six Favourite Concertos (The English Orpheus, Vol. 7) Import

6 customer reviews

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Audio CD, Import, November 19, 1993
$29.29 $1.40

1. Concerto No.1 In C Major: Largo ma con spirito
2. Concerto No.1 In C Major: Andante
3. Concerto No.1 In C Major: Allegro
4. Concerto No.1 In C Major: Minuetto
5. Concerto No.2 In G Major: Allegro
6. Concerto No.2 In G Major: Slow
7. Concerto No.2 In G Major: Moderato
8. Concerto No.2 In G Major: Allegro
9. Concerto No.2 In G Major: Giga (Allegro con spirito)
10. Concerto No.3 In A Major: Con spirito
11. Concerto No.3 In A Major: Con spirito
12. Concerto No.3 In A Major: Minuetto
13. Concerto No.3 In A Major: Moderato
14. Concerto No.4 In B Flat Major: Largo, ma con spirito
15. Concerto No.4 In B Flat Major: Minuetto
16. Concerto No.4 In B Flat Major: Giga (Moderato)
17. Concerto No.5 In G Minor: Largo
18. Concerto No.5 In G Minor: Allegro con spirito
19. Concerto No.5 In G Minor: Adagio
20. Concerto No.5 In G Minor: Vivace
See all 24 tracks on this disc

Product Details

  • Performer: Paul Nicholson
  • Orchestra: The Parley of Instruments
  • Composer: Thomas Arne
  • Audio CD (November 19, 1993)
  • Number of Discs: 1
  • Format: Import
  • Label: Hyperion
  • ASIN: B000002ZPU
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #515,263 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

6 of 6 people found the following review helpful By Giradman on December 19, 2010
Format: Audio CD
Thomas Arne (1710-1778) was an English composer, largely of stage works, but did write a small volume of instrumental works, including the keyboard concertos on this disc - these were published in 1793 after his death, but composed likely in the mid-18th century; thus, he was part of the early vanguard of European composers writing in this 'new' genre which was primarily introduced by Handel (an influence obviously) and JS Bach.

Arne's keyboard concertos are in 3-4 movements unlike the older Baroque style of multiple dance-based groupings. Most interesting the various pieces are performed on different keyboard instruments, i.e. fortepiano, harpsichord, and organ which was likely the trend at the time due to the changing nature of keyboard instruments in that century. In addition, the Parley of Instruments is a period group which I've enjoyed in many previous recordings.

This recording is from 1991 and was engineered by the outstandingly experience Tony Faulkner, so one would expect the sound, mixing, and production to be up to his and Hyperion's high standards. Downgrading this wonderful performance to 1* based on the assumption of poor miking and mixing is utter nonsense; the harpsichord indeed does NOT sound like the full orchestra - it's not suppose to! And trying to up the miking on the instrument would produce a very unnatural balance - I hope that the reviewer w/ the poor rating was not trying to listen to this recording in a car or through earphones on a train or bus?

Bottom line - if you are interested in the development of keyboard music and its evolution in the 18th century, especially in the early and mid-portion of that fascinating musical period, this CD is worthy of consideration. Also, if you visit Berkshire Record Outlet, the disc is available there for just $5!
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1 of 1 people found the following review helpful By David J. Friedlander on February 21, 2014
Format: Audio CD
This was one of those recordings that brought me immediate joy right from the first notes. When I heard the samples on Hyperion's website, I knew this was something to purchase without hesitation. The playing is lively and despite what a couple of other folks have claimed, the sound is great. I can't fault it in any way. I don't hear any problems with the keyboard mix whatsoever. Everything is clearly audible and the orchestra sounds very sweet, without any of the period instrument acidity you sometimes encounter. You can check it out yourself at Hyperion's website.

Thomas Arne is instantly recognizable as a most highly gifted composer. His music is not only full of interest, every note is purposeful. He never showy or trite. I would pick Handel as a close model with perhaps a bit more Italianate color and space to the sound. This music is brimming with intelligence and is wonderfully pleasing. Clearly a home run and a definite pick for fans of the Baroque and Early Classical periods. By the way, this was critically a success and rave reviews were received from major music periodicals. I would trust them over the naysayers without hesitation. You should too. If you need proof, go to Hyperion's website and hear the actual samples. They are free and are an entire minute per track, twice the usual amount found at the most sites.
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2 of 3 people found the following review helpful By MR P LATIMER on December 5, 2011
Format: Audio CD
I'm afraid I must concur with the other poor review here. I have a big collection of baroque concertos on CD & vinyl and this is the strangest piece of sound mixing that I have ever heard. I have played it on a Bose Wave CD player, a budget Pioneer separate amplifier and recently on my new Audiolab system and it does not sound any better on any of them. I have no expertise here but I have a pair of ears and without getting into the close miking or not technical arguments, the keyboard instruments all sound too quiet and are drowned out by the other instruments. The material is interesting. Arne is a talented disciple of Handel who in my humble opinion is better than all the other english born contemporaries except maybe Charles Avison. The playing sounds like it could be good but the material is rendered unlistenable by the sound mix. I read another review defending this piece by alluding to it being more natural. Yes harpsichord is not that loud but an organ being drowned out by a chamber orchestra is another proposition. While we are on the subject of the different keyboard instruments, if the original pianoforte sounded as weak as it does in the piano concertos here then it is difficult to believe that it could have ever superseded the harpsichord. This recording is unusually problematic in respect of its sound mix. I have a Chandos CD of Roy Goodman and the Brandenburg Consort which has a problem with the mix but it is nothing like as extreme as this. This issue does not effect any of the other concertos I have for example Trevor Pinnock & The English Concert on Archiv, Andrew Manze & AAM on Harmonia Mundi etc. Caveat emptor!
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