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

Support us financially by purchasing this from

Giuseppe Antonio BRESCIANELLO (1690 - 1758)
Concerti à 3 - Volume 1
Concerto primo in B flat [13:33]
Concerto secondo in G [9:17]
Concerto terzo in g minor [11:41]
Concerto quarto in E flat [9:59]
Concerto quinto in A [10:40]
Concerto sesto in b minor [12:10]
Der musikalische Garten (Germán Echeverri Chamorro, Karoline Echeverri-Klemm (violin), Annekatrin Beller (cello), Daniela Niedhammer (harpsichord)
rec. June 2016, Ensemblehaus, Freiburg, Germany DDD

In the late 17th and the early 18th centuries many aristocrats came under the spell of the splendour at the French court in Versailles. They tried to copy it, including the musical culture which was one its features. The main representative of the latter was Jean-Baptiste Lully. Some aristocrats wanted their court chapel to play French music. One of them was Eberhard Ludwig IV of Württemberg. He stayed in Paris around 1700 and that must have made a huge impression. This could explain why Giuseppe Antonio Brescianello, his Kapellmeister, who was appointed to this position in 1721, composed quite some music in the French style, both orchestral overtures and chamber music.

His appointment followed years of quarrels within the court chapel. Brescianello, who was either from Bologna or from Venice, entered the service of the Duke in 1716 as musique directeur, maître des concerts de la chambre. He had set his eyes on the position of Kapellmeister, though, but there was some stiff competition from Reinhard Keiser, who arrived in 1719 and stayed in Stuttgart for over a year. Brescianello insisted that he had been promised a higher position. Moreover, as a director of the chapel he would be in a better position to attract players and determine the repertoire. The players were heavily divided: the Germans preferred Keiser, whereas the growing number of Italian players took the side of Brescianello. In 1721 the latter was appointed Kapellmeister.

Only one collection from his pen was published: a set of twelve Concerti et Sinphonie, which was printed as his Op. 1 in Amsterdam in 1738. Considering the style of the Concerti à 3, which are the subject of the present disc, these must have been written well before he entered the service of the Duke of Württemberg. However, it is impossible to establish when and where they were written. Nothing at all is known about Brescianello's formative years or his first activities as a violinist or a composer.

These pieces are scored for two violins and basso continuo. They follow the model of the Corellian sonata da chiesa, and open with a slow movement, followed by a fugue in a fast tempo. Next is another slow movement and the sonata closes with a dance-like movement in a fast tempo. The two violins are treated on equal footing, with the exception of the second movement from the Concerto II where the first violin rises to prominence and has a cadenza in the closing section.

Several movements include some notable harmonic progressions, for instance the closing allegro from Concerto I and the adagio cantabile from Concerto V, which has a pastoral character. Brescianello also makes use of chromaticism, for instance in the closing presto from Concerto III. The second movement from the same concerto includes frequent chromatically descending figures. Notable are also the meandering lines of the two violins in the opening largo from Concerto VI.

These six concertos - the first half of the set - are full of interesting and different musical ideas. That is one of the reasons they are entertaining and keep the listener's attention. It seems that Brescianello was well appreciated in his time, and it is not hard to understand why that was the case. In recent years, several discs have been released with music from his pen, but this disc seems to be the first recording of these pieces of chamber music. The present disc is announced as Vol. 1, which indicates that the remaining six concertos will be released as well. That is good news, because these pieces are of fine quality and they receive splendid performances. Der musikalische Garten is a relatively young ensemble which in the few years of its existence has made quite an impression. That is easy to understand, listening to these energetic and expressive performances. I hope to hear their next disc soon.

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