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CSQ, Michala Petri, Kjell-Åke Andersson, Viggo Mangor

1-4 Sonata K 90 in D minor, MP, VM, CSQ
5 Sonata K 87 in A minor, CSQ
6 Sonata K 9 in D minor, CSQ
7 Sonata K 30 in F minor, CSQ
8 Sonata K 159 in C major, CSQ
9 Sonata K 8 in G minor, K-ÅA, CSQ
10 Sonata K 513 in B flat major, CSQ
11 Sonata K 208 in F sharp, VM, CSQ
12 Sonata K 58 in C minor, CSQ
13 Sonata K 96 in C major, CSQ
14 Sonata K 200 in A flat major, CSQ
15-17 Sonata K 89 in D minor, MP, VM, CSQ

 

The P2 Award 2003

On 23 November 2003, CSQ received the award, "P2-Prisen", an award given every year by the Danish National Radio to qualified musicians. It was awarded for the first time at a concert with the Radio Orchestra conducted by Adam Fischer.  
CSQ was nominated in the category Best Danish chamber music recording of the year.

 

PRESS REVIEW:

"... an exceptionally enlightened treat in the manners of baroque interpretation. For, far from guiding me down a heretic's path in the vagaries of ancient music, this one proved, if not definitively then at least convincingly, that the essence of any music, regardless of period, lies in the communicative ability of the performers at hand, not in the "authenticity" of presentation.
If I could play this for any of our readers--without telling them that there are saxophones involved--a large percentage would be too caught up in the stylish, excellent manner of presentation before they realized that Scarlatti's essence had been penetrated by modern metal behemoths.
.... Copenhagen Quartet executes its part with dressed-up baroque sensibilities and an unerring feel for the music. The sound is smooth and soft. If you love Scarlatti, don't hesitate."

(American Record Guide)

 

“…the tonal impression is astonishingly beautiful. Radiantly, softly and seductively, Scarlatti’s old piano sonata’s dances it’s way towards the listener.
If you think you can imagine the tone of a well-played saxophone without having heard this recording, you should think again!”
( Politiken )

 

"What this recital does bring home is the sheer wonder of the music; its lively wit, its unpredictability within quite strict stylistic limits, and above all its amazing harmonic resourcefulness - all of these make an enhanced impact when scored out in this way. Naturally, one loses something when they are moved from their natural métier, but there are enormous gains, especially when they are performed as well as this."
An unusual but extremely rewarding musical experience.

(musicweb.net about "Scarlatti)

 

Scarlatti for saxofon

Domenico Scarlatti skrev ca. 550 sonater for cembalo. Nogle af dem er gjort kendte af nogle af vor tids store pianister. Andre instrumenter såsom guitar, blokfløjter og messinginstrumenter har også med stor succes spillet arrangementer af hans musik.
På en turné til Kilkenny 1999 hørte CSQ for første gang noget af Scarlattis musik arranger
et for saxofonkvartet, spillet af det Hollandske ensemble "Aurelia". Kvartetten fandt denne musik med brugen af enkle melodier og, for dens tid, anderledes akkorder, smuk og spændende. De mente, det lød virkelig godt for saxofon. Umiddelbart efter kvartettens hjemkomst købte de Aurelias noder og spillede dem ofte og med stor glæde. Efter at have lyttet til ca. 500 sonater, begyndte CSQ at arrangere deres favoritter for fire saxofoner. Disse sonater blev hurtigt en del af kvartettens repertoire, og det skulle vise sig at blive meget populært blandt publikum.
Efter et statsbesøg til Slovenien på hvilket CSQ spillede en koncert af Vivaldi med Michala Petri, fik kvartetten den ide at tage udgangspunkt i nogle af Scarlattis sonater for cembalo og solostemme og arrangere dem for saxofonkvartet og blokfløjte. Disse sonater er netop indspillet på CD af Michala Petri og CSQ. På Cd’en finder man tillige forskellige sonater for to, tre og fire saxofoner og én sonate for tre saxofoner og det sjældent hørte barokinstrument zink. Zinken bliver på indspilningen spillet af Kjell-Åke Andersson.
CSQ ønsker at præsentere en spændende intelligent og fascinerende barokkomponist, der skiller sig ud fra andre kunstnere af hans tid ved hans uortodokse måde at skabe musik på. De håber at publikum vil blive lige så fanget, som de selv blev, da de første gang hørte denne musik for denne type ensemble. Derfor bruger de arrangementerne beskrevet ovenfor og nogle af alle de klangmuligheder, saxofonen har at byde på.