MusicWeb International One of the most grown-up review sites around 2023
Approaching 60,000 reviews
and more.. and still writing ...

Search MusicWeb Here Acte Prealable Polish CDs

Presto Music CD retailer
Founder: Len Mullenger                                    Editor in Chief:John Quinn             


Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

Troubadisc Weinberg- TROCD01450

All Troubadisc reviews

FOGHORN Classics

Brahms String Quartets

All Foghorn Reviews

All HDTT reviews

Songs to Harp from
the Old and New World

all Nimbus reviews

all tudor reviews

Follow us on Twitter

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

CD: AmazonUK AmazonUS
Download: Classicsonline

Play me my songs
John ECCLES (c.1668-1735)
Suite from 'The Mad Lover' [9:35]
Giovanni BONONCINI (1670-1747)
Barbara Ninfa ingrata, cantata [14:49]
Charles AVISON (1709-1770)
Concerto in F, op.9,10 [5:52]
Francesco GEMINIANI (1687-1762)
A Treatise of Good Taste in the Art of Musick, 1749: Song I: The Lass of Peaty's Mill [4:43]; Song II: The Night her silent sable wore [4:25]; Song III: When Phoebus bright [5:15]; Song IV: O Bessy Bell and Mary Gray [2:21]; Sonata III for 2 violins and bc (The last time I came over the moor) [4:07]
George Frideric HANDEL (1685-1759)
24 English Songs (HWV 228): The Rapture [4:22]; The Sailor's Complaint [3:08]
Francesco BARSANTI (1690-1772)
Ouverture in d minor, op. 4,2 [5:27]
Ensemble Il Falcone
rec. January 2008, Cappella Grimaldi, Genoa, Italy. DDD
DYNAMIC CDS612 [64:49]
Experience Classicsonline

In the first decades of the 18th century England, and especially London, developed into one of the main centres of music in Europe. Many composers from all over the continent travelled to London to try their luck as performers or composers. The most famous of them was George Frideric Handel, but there were many more. And the composers represented on this disc are only the tip of the iceberg.
The key figure in this programme is Francesco Geminiani. He was an outstanding violinist and pupil of Arcangelo Corelli. He didn't fail to present himself as such, because Corelli was very famous in England and being his pupil would make it much easier for Geminiani to make a good career. It didn't take long before he was invited to play at Court, accompanied by Handel at the harpsichord. Geminiani wasn't just a famous composer, he was also a prolific writer on music. In his book 'A Treatise of Good Taste in the Art of Musick' of 1749 he included the songs performed in this programme. He mainly used them to demonstrate the correct way of adding ornaments, the ultimate goal of which should be to represent the intentions of the composer.
According to the booklet the subject of this recording is the "relationships between Italy and England". From this perspective the first item on this disc, a suite of four instrumental pieces which John Eccles wrote for the play 'The Mad Lover' is a bit odd. Music for the stage like this was very popular in England, and after the death of Purcell Eccles became the main contributor to this genre. Although later in his career he tried to incorporate elements of the Italian style into his music, that isn't discernible in this suite which dates from around 1701. Although it is played quite well by Il Falcone, it sounds a bit too Italian to me. In this case I would have preferred some moderation in regard to dynamic accents.

The inclusion of Avison makes much more sense as he was a strong admirer of Geminiani. He also was a writer on music, and in one of his books he dared to state that Geminiani surpassed Handel as a composer; this caused a fiery debate. In recent years most of his orchestral music has been recorded, but here we get probably the most 'Italianate' performance. This is definitely not the way British ensembles play Avison. One could argue that this is going a bit too far, but on the other hand the influence of the Italian masters, especially Geminiani, is probably better exposed here than in previous recordings.
Another Italian who settled in London was Giovanni Bononcini, one of the most celebrated composers of operas and oratorios in Europe around 1700. Between 1720 and 1732 he worked in England, although with frequent interruptions. For his first two seasons as a composer for the Royal Academy of Music he was very successful, but soon his Catholicism became problematic and he met growing resistance. Here a cantata for solo voice, two violins and bc is performed. It is introduced by a sinfonia in three sections, the second of which is a largo with daring harmonic progressions. After that we get the usual sequence of two recitatives and two arias. It receives a very fine performance by the soprano Elisa Franzetti, a singer with a beautiful voice who sings with much expression and also adopts rhythmic freedom in the recitatives. The performance is a little marred, though, by the too reverberant acoustics.
Another Italian in England was Francesco Barsanti. He was born in Lucca like Geminiani, whom he accompanied to London in 1714. He married a woman from Scotland and had much sympathy for and understanding of Scottish tunes some of which he arranged for instruments. Here we hear one of the Overtures from his op. 4 which also shows Scottish influences. In the last movement, paesana (allegro con spirito), the sound of the Scottish folk fiddle is imitated.
Handel did not write many solo songs. Of the two presented here only the first is authentic; the second is spurious. There is nothing wrong with the singing in these two songs or in the songs by Geminiani, but Elisa Franzetti seems audibly less at home in this repertoire. Her diction is pretty poor and her pronunciation often rather strange. Even while reading the lyrics in the booklet it is difficult to understand what she is singing. It isn't made easier by the often fast tempi the ensemble has chosen nor by the acoustic circumstances. The balance between the voice and the instruments is less than ideal and this certainly doesn’t help either.
This leads me to the performances of the players. I admire their temperament and often I find their approach refreshing as they rightfully underline the theatrical character of the Italian repertoire. However they apply their principles of interpretation too indiscriminately. As a result they sometimes overshoot the mark. Their playing is a little unpolished and the intonation now and then tends to be suspect.
With a little tolerance in these matters there is a lot to enjoy here and never a dull moment. The concept is original and the programme has been well put together. In addition this disc contains much repertoire which is hardly known. Reason enough for me to recommend this disc. The programme notes are informative, but the booklet doesn't give the English translation of Bononcini's cantata. Also the words for the second half of the first stanza of Handel's song The Rapture is missing.
Johan van Veen


Advertising on

Donate and keep us afloat


New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

all Bridge reviews

all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

All Eloquence reviews

Lyrita recordings
All Lyrita Reviews


Wyastone New Releases
Obtain 10% discount

Subscribe to our free weekly review listing




Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews


      Composer surveys
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site


Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure



Bulletin Board

Give your opinions or seek answers

Past and present

Helpers invited!

How Did I Miss That?

Currently suspended but there are a lot there with sound clips

Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Other links
Web News sites etc

A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools

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.