I like to think that
reviewers should be sympathetic to the
types of music that they cover and be
as constructive as possible; destructive
criticism does nobody any favours. Now
I will be perfectly honest at the outset
and admit that this era of music is
not my usual territory and my experience
and knowledge of 17th century
Italian music is quite limited. But
sometimes I like to explore unfamiliar
territory and I was so impressed by
this compilation of harpsichord and
spinet music that I was prompted to
contribute this review.
Bernardo Pasquini was
born near Lucca in December 1637. After
studying locally he travelled to Rome
in 1650 where he became one of the pupils
of Loreto Vittori, one of the most famous
male sopranos of his time. During his
time in Rome he familiarised himself
with the works of Frescobaldi and, especially,
Palestrina.
Pasquini went on to
become a celebrated keyboard virtuoso.
He was also attracted to the theatre
and contributed much music to it, together
with compositions and performances at
private gatherings and academies. He
was favoured by such famous music patrons
as Cardinals Ottoboni and Pamphili and
Queen Christina of Sweden, the Colonna
princes and, most especially, Giambattista
Borghesa.
The learned technical
notes for this album need not deter
the listener for the majority of these
pieces are very accessible and sunny.
For instance, the Toccata con lo
scherzo del cucco,
as the title infers, wittily interweaves
the cuckoo’s cry in a clever and elaborate
Toccata. Elsewhere there are dance measures
joyful and sedate, delicate and robust.
Savour the lively yet refined Partite
del salterello, for instance, or
the joyous, decorous Canzon franzèsa.
The most extended work
is the Ricercare con la fuga in più
modi (at 13½ mins). This
work is considered to be the composer’s
greatest achievement in its style. It
is divided into nine discreet sections,
each based on the same theme stated
at the opening or on a variation of
it. This virtuoso polyphonic work is
highly complex and elaborate but with
an easy and logical flow.
Roberto Loreggian plays
on a Riccardo Pergolis harpsichord,
a copy of Giovanni Giusti, Lucca, late
17th century, and on a Riccardo
Pergolis spinet, a copy of Honofrio
Guarracino, Naples 1663. Loreggian’s
impressive technical skill and clarity
of playing, and obvious empathy and
enthusiasm for this repertoire shines
through every bar. The recital of seventeen
pieces concludes with Pasquini’s five-movement
Sonata XIV à basso continuo
in la minore in which Loreggian
is joined by cellist Francesco Ferrarini.
This agreeable six-minute work, a sophisticated
dialogue between the instruments, embraces
a mildly protesting Adagio, a
jolly, even boisterous, Allegro,
a stately, slightly pompous Andante,
a jolly Presto and a delicious,
merry Gavotta.
Accessible, beautiful
and joyous 17th century Italian
harpsichord and spinet music played
with great verve and refinement. A revelation.
Ian Lace
Early
Music
Roberto Loreggian (harpsichord and spinet)
