If I know you, you’ve already looked at the bottom to see how
many Ludwigs this one gets, and you’re probably startled to see a three
CD set by some people you’ve hardly ever heard of designated a must-have.
But, that’s Boccherini! Of course you’ve heard ‘The Boccherini Cello Concerto’
as arranged by Friedrich Grützmacher from G 481 and 482, and published
in 1895 (track 3/1). Every famous cellist has recorded it. Well, that
one sounds better here in its original form than you’ve ever heard it,
and there are eleven more equally delectable to go with it (track 1/10,
3/5). Get ready to be overwhelmed.
The performers are not exactly household names, but
their credentials are stupendous. Conductor Bruno Giuranna was a co-founder
of I Musici and played viola and viola d’amore solo with them
during their many tours. This would account for the "I Musici sound"
of this recording. Lithuanian cellist Geringas studied with Rostropovich
at the Moscow Conservatory and won the Gold Medal at the 1970 Tchaikovsky
competition. He plays with a slightly ‘white’ sound in the upper register
which is appropriate and authentic for this repertoire.
Boccherini was probably the greatest and most popular
cello virtuoso of his time and was in great demand. Like Domenico Scarlatti,
he settled in Spain; his guitar quintets are also among his finest compositions.
Unaccountably his music was almost completely forgotten after his death
and his compositions have until recently been sought after and treasured
only by connoisseurs. These concerti are all in three movements and
are accompanied by string orchestra with occasional horns and winds
added. Besides a variety of orchestral sounds, the concerti display
a variety of moods from a slightly Vivaldian late baroque style through
the Rococo, Classic, to early Romantic styles. I have to find something
to complain about, so I’ll say I’d have preferred a very slightly closer
sound with a little more bass (a "Solisti di Zagreb sound").
The soloist, however, is just as closely recorded as anyone could want,
and his technique easily stands up to the revelation. His rapport with
the orchestra is flawless.
I suppose if you listen to nothing but Palestrina,
or Wagner, or Webern, you might not like this CD. But then you wouldn’t
be reading this review in the first place.
Paul Shoemaker
Orchestra da Camera di Padova
e del Veneto/Bruno Giuranna,