Stephen Schultz Reviews

BOISMORTIER

Alte Musik Aktuell: The Record of the Month March 1996

Joseph Bodin de Boismortier (1685-1755) composed six sonatas for transverse flute and harpsichord: Op. 91 No. 1 in D Major; No. 2 in g minor; No. 3 in G Major; No. 4 in e minor: No. 5 in A Major; No. 6 in c minor. In 1752 D'Aquin said of him: "The highly productive Mr. Boismortier can certainly be counted as one of the most notable composers; of course, his reputation would have been without blemish, if he had only had the decency not to publish all of his works." However traverso player Stephen Schultz, founder and director of the ensemble American Baroque, and harpsichordist Byron Schenkman have devoted themselves to this music. This CD before us is the recording debut for this group on the Naxos label (although only two members of the group are represented here) and the beginning of a long-term contract that will bless us with three to four recordings a year.

This new contract certainly is exciting because American Baroque is not exactly unknown to us. Unforgettable is their Paris Quartets CD by Telemann or the original compositions by and with Roy Weldon. And now they bring us a moving and refreshing interpretation of high-baroque flute music -- each note a revelation, each measure a little piece of art all on its own. One can only sit down and melt with the music....

Robert Strobl

Fanfare: September/October 1996

Enchanting...I haven’t enjoyed an album of Baroque flute music this much in years...the present performers do the works proud...the music comes compellingly to life...a distinguished release...a wonderful way to explore a charming avenue of the French Baroque.

John Story

San Francisco Examiner: August 9, 1996

Tasty...Schultz and Schenkman bestow royal treatment...the playing is fairly irresistible.

Alan Ulrich

Continuo Magazine: October 22, 1996

Together Schultz and Schenkman provide some of the best renditions of Boismortier’s music I have heard on disc. Technique and unanimity of ensemble are first-class, but I was especially struck by the way these musicians can highlight and turn a phrase - very personable music-making with a French accent.

Christopher Brodersen

TELEMANN

Alte Musik Aktuell: The Record of the Month 1990

The word "Critic" has two different meanings: one means judgment and review; the other complaint and criticism. With much relief in this instance I will take up the first meaning, because today I'd like to take a break from the role of complaining critic or fault-finder.

In front of me I have the world's first recording of six sonatas from the 4th Book for Quartets (1752) by G.P. Telemann (1682-1767). Its not that the superlative exited me or motivated me to write this review. This is more nearly a cause for sadness because these six sonatas (scored for flute, violin, viola and harpsichord and ore viola da gamba and harp) deserved to be published long ago.

No, the first and really the lasting impression of this recording by American Baroque (Stephen Schultz, Elizabeth Blumenstock, Roland Kato, Roy Weldon, Cheryl Ann Fulton, Charles Sherman) is something completely different -- surprising and amazing! In the history of mankind, there are, actually, a very few complete works of art, full of harmony, perfection and beauty. I will spare the reader a representative list -- for whatever coincidence, chance or other reason the fact remains, there are only a few outstanding and perfect human creations. And here is one of them! (Any further discussion would therefore be superfluous!)

Robert Strobl

BOISMORTIER *Alte Musik Aktuell: The Record of the Month March 1996* Joseph Bodin de Boismortier (1685-1755) composed six sonatas for transverse flute and harpsichord: Op. 91 No. 1 in D Major; No. 2 in g minor; No. 3 in G Major; No. 4 in e minor: No. 5 in A Major; No. 6 in c minor. In 1752 D'Aquin said of him: "The highly productive Mr. Boismortier can certainly be counted as one of the most notable composers; of course, his reputation would have been without blemish, if he had only had the decency not to publish all of his works." However traverso player Stephen Schultz, founder and director of the ensemble American Baroque, and harpsichordist Byron Schenkman have devoted themselves to this music. This CD before us is the recording debut for this group on the Naxos label (although only two members of the group are represented here) and the beginning of a long-term contract that will bless us with three to four recordings a year. This new contract certainly is exciting because American Baroque is not exactly unknown to us. Unforgettable is their Paris Quartets CD by Telemann or the original compositions by and with Roy Weldon. And now they bring us a moving and refreshing interpretation of high-baroque flute music -- each note a revelation, each measure a little piece of art all on its own. One can only sit down and melt with the music.... *Robert Strobl* Fanfare: September/October 1996 Enchanting...I haven’t enjoyed an album of Baroque flute music this much in years...the present performers do the works proud...the music comes compellingly to life...a distinguished release...a wonderful way to explore a charming avenue of the French Baroque. *John Story* San Francisco Examiner: August 9, 1996 Tasty...Schultz and Schenkman bestow royal treatment...the playing is fairly irresistible. *Alan Ulrich* Continuo Magazine: October 22, 1996 Together Schultz and Schenkman provide some of the best renditions of Boismortier’s music I have heard on disc. Technique and unanimity of ensemble are first-class, but I was especially struck by the way these musicians can highlight and turn a phrase - very personable music-making with a French accent. *Christopher Brodersen* TELEMANN *Alte Musik Aktuell: The Record of the Month 1990* The word "Critic" has two different meanings: one means judgment and review; the other complaint and criticism. With much relief in this instance I will take up the first meaning, because today I'd like to take a break from the role of complaining critic or fault-finder. In front of me I have the world's first recording of six sonatas from the 4th Book for Quartets (1752) by G.P. Telemann (1682-1767). Its not that the superlative exited me or motivated me to write this review. This is more nearly a cause for sadness because these six sonatas (scored for flute, violin, viola and harpsichord and ore viola da gamba and harp) deserved to be published long ago. No, the first and really the lasting impression of this recording by American Baroque (Stephen Schultz, Elizabeth Blumenstock, Roland Kato, Roy Weldon, Cheryl Ann Fulton, Charles Sherman) is something completely different -- surprising and amazing! In the history of mankind, there are, actually, a very few complete works of art, full of harmony, perfection and beauty. I will spare the reader a representative list -- for whatever coincidence, chance or other reason the fact remains, there are only a few outstanding and perfect human creations. And here is one of them! (Any further discussion would therefore be superfluous!) Robert Strobl