Johann Joachim Quantz:
Sei Duetti (1759)
A recording on period instruments
“The Baroque music connoisseur looking for refined and
expertly crafted performances of neglected musical gems
will find this recording an unalloyed delight.”
Previously unrecorded as a complete set using Quantz’s preferred instrumentation, the Sei Duetti, op. 2 (Berlin, 1759), are works of high quality and interest. Quantz presents his musical ideas as a continuously evolving conversation. They embody wonderfully the idea of Dialogue: The Art of Elegant Conversation.
These historically significant works are excellent examples of Quantz’s intermediate position between the Baroque and Classical periods. They deserve to be heard by a wider audience.
Barthold Kuijken Testimonial
“I listened with great pleasure to the Quantz duet recording of Greg Dikmans and Lucinda Moon. They made me rediscover these works, that have too often been undervalued as dry and uninteresting compositions.
“I am glad that Greg Dikmans and Lucinda Moon did not take the easy superficial approach, but made the effort to take these light and charming works “seriously” enough and bring out so many different shades of colours.
“Quantz himself recommends playing these pieces with two different instruments in order to do justice to the polyphonic writing, and I am particularly happy hearing them being performed on flute and violin rather than two flutes.
“Thanks, Greg and Lucinda!”
— Barthold Kuijken, Gooik, May 21st 2015
Listen to excerpts
Duetto II: 3. Presto
Duetto II: 1. Allegro assai
Available for download from
CDs will be available at our Concerts.
Top Class Recording and Post-Production
The CD was recorded in the crystal clear and resonant acoustic of The Salon at the Melbourne Recital Centre, Australia. The natural acoustic of the space shines through (no artifical reverb has been added). This acoustic is ideal for the performance and recording of Baroque and Classical chamber music.
Recording and post-production by Thomas Grubb (www.manomusica.com).
Elysium Ensemble gratefully acknowledges the support of:
- Cameron Foundation
- John & Anne Duncan