£16 post free World-wide

 


555 sonatas 9Cds mp3 files
Only £22


 


Benjamin: Written on Skin £16

Search
What's New
Previous CDs
Concerts
Jazz
Nostalgia
Composers
Resources
Announce
Labels index


Every Day we post 10 new Classical CD and DVD reviews. A free weekly summary is available by e-mail. MusicWeb is not a subscription site. To keep it free please purchase discs through our links.

  Classical Editor: Rob Barnett  
Founder Len Mullenger   
 


CD REVIEW



Some items
to consider

 


Free classical music concerts by Gothenburg Symphony Orchestra.


RECORDING OF THE MONTH
Dvorak Opera Premiere
BEST SELLER


The Best


Vanhal


Francis Pott

 


Mahler 9 Elder


New Lyrita Release


British Violin and Cello Concertos


Lyrita New Recording


RECORDING OF THE MONTH
Ritchie Symphony 4

Mozart concertos

 

 

Would you like a hyperlinked weekly summary of the CDs we have reviewed?

Click for further details

Sample: See what you will get

Editorial Board
MusicWeb
Classical Editor
   
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Stan Metzger
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

 



La Bottega Discantica

 

 

Il più misero amante
Alessandro STRADELLA (1639-1682)
Il più misero amante, Cantata for soprano and bass continuo (c.1667-77) [8:37]
Pietro Antonio LOCATELLI (1695-1764)
Sonata No.4 Op.2 for flute and bass continuo [9:53]  
Ercole BERNABEI (1622-1687)
Dal regno d'amore, Cantata for soprano and bass continuo [6:52]  
Antonio VIVALDI (1678-1741)
All'ombra di sospetto, Cantata for soprano, flute and bass continuo [10:41]  
Pietro NARDINI (1722-1793)
Sonata in sol mag. flute and bass continuo [4:28] 
Giacomo CARISSIMI (1605-1674)
Scrivete occhi dolenti, Cantata for soprano and bass continuo (c.1650) [8:05]
Camerata Hermans; Cristina Paolucci (soprano); Fabio Ceccarelli (flute); Alessandro Montani (cello); Fabio Ciofini (harpsichord/leader)
rec. January 2006, Urbino
LA BOTTEGA DISCANTICA 140 [55:10]

 


This is a neat and tidy examination of lesser-known works by important Italian composers. Cantatas are interspersed with sonatas in a way that’s increasingly fashionable in programmes of baroque vocal music. The glue that binds the pieces is the concept of “affetti” or affections, and its realisation in this form is via the expressive use of emotion in cantatas.

Stradella’s Il più misero amante can be roughly dated to the decade between 1667 and 1677. Stradella was a prolific composer of cantatas, generally utilising his own texts. This one conforms to the norm – a goodly dash of anguish and a final cry of despair reinforced by syncopation in the bass figures. Fortunately Stradella binds intense passages of recitative with more emotive writing to form a seamless whole.

Bernabei is the least well known of all the composers, active in Rome as an organist and subsequently as a maestro di cappella before he was poached by the court in Munich in 1774. His surviving works are few and far between and this allegorical cantata –Vice and Virtue – is rather more than the Stradella a matter of recitative and aria – which is to say it rather lacks the fluidity of the earlier work. Nevertheless only ten cantatas by him are known to have survived so it repays study.

The Vivaldi is a rare example of the Venetian cantata for voice, flute and bass continuo. The imitative passages are the most diverting moments in what is otherwise rather by-the-yard material.  Meanwhile Carissimi’s Scrivete occhi dolente, which dates from approximately 1650 is written for soprano and bass continuo and plumbs substantially greater depths. It’s written in the form of a letter, a conceit that allows considerable scope for dramatic projection – the form may be patterned after Monteverdi but the musical expression reveals Carissimi to be a master of the genre.  He oscillates freely between recitative and arioso and does so with great plangency and dramatic power.

The instrumental sonatas break up the cantatas and add interest of their own, allowing the instrumental players some freedom after their more constrained and supportive work in the vocal works. The Locatelli conforms to the “affect” principle – it reminds one rather of Handel’s Op.1 sonatas. And the Nardini is engagingly melodic; nothing here will surprise those steeped in his violin works – he writes interchangeably well for flute as for fiddle.

Cristina Paolucci sings with directness and great musicality. Her voice is light but attractively supported; no exaggeration mars her singing. She manages the fluid movement of recit-and-aria with accomplishment and brings simplicity to the athletic moments of the Carissimi – as indeed she does to its lament. Camerata Hermans takes the honours with equal distinction. The notes are to the point – texts are in Italian only. Let’s hear more from this talented group.

Jonathan Woolf

 

 

 


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Altus
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.