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Baldassare GALUPPI (1706 - 1785)
Sei Sonate a tre a due violini e basso continuo : No. 1 in A [9:15] No. 2 in F [11:20] No. 3 in D [6:27] No. 4 in G [9:04] No. 5 in B flat [10:04] No. 6 in E [7:41]
Accademia dei Solinghi (Claudio Adriani, Abramo Raule (violin), Alessandro Peiretti (cello), Rita Peiretti (harpsichord))
rec. 8-10 November 2010, Sala Conceria of Chieri, Turin, Italy. DDD
DYNAMIC CDS 694 [54:95]
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For some centuries Venice was one of the main centres of music-making
in Italy. In the early 18th century Vivaldi was the key figure
in the music scene, composing numerous operas, sacred works
and instrumental pieces. After his death in 1741 his place was
taken by Baldassare Galuppi, who soon became the most fashionable
Italian master. His popularity was such that pieces by other
composers were sold as written by Galuppi. One example is a
setting of the Dixit Dominus which was purchased by the
court in Dresden as a composition by Galuppi. Only fairly recently
the true identity of the composer was discovered: Antonio Vivaldi.
Galuppi was born in Burano which explains his nickname 'Buranello'.
His father was a violinist, who worked as a barber for a living.
Galuppi's main teacher was Antonio Lotti. The English journalist
Charles Burney visited Galuppi in 1770 and wrote: "Signor
Galuppi was a scholar of the famous Lotti, and very early taken
notice as a good harpsichord player, and a genius in composition.
(...) He certainly merits all that can be done for him, being
one of the few remaining original geniuses of the best school
perhaps that Italy ever saw. His compositions are always ingenious
and natural, and I may add, that he is a good contrapuntist,
and a friend to poetry."
Galuppi has mainly become famous as a composer of operas, both
serious and comic. His output in this genre is huge. In addition
his work-list includes a large number of serenatas, oratorios
and liturgical music. The largest part of his instrumental music
is for keyboard. His oeuvre for instrumental ensemble is relatively
limited: eight concertos for harpsichord and strings, seven
concerti a quattro and the six trio sonatas which are
the subject of this disc. They probably date from around 1760;
they were not printed but have been preserved in a manuscript
which is kept in the library of the University of Uppsala.
The judgement of Charles Burney that Galuppi was a "good
contrapuntist" is affirmed by these sonatas which are written
in the galant idiom. They are also an expression of the
ideal of naturalness which was propagated by the Italian violin
virtuoso and composer Giuseppe Tartini. All the sonatas are
in three movements: fast - slow - fast. Although the two violins
are basically treated on an equal footing, in several movements
the first violin dominates, like the the first and last from
the Sonata No. 1 in A and in the largo from the Sonata
No. 3 in D. The adagio from the Sonata No. 2 in F
is notable for its expression, partly through the use of general
pauses. One of the most exuberant and technically brilliant
movements is the closing allegro from the Sonata No. 4 in
G.
The Sonata No. 6 in E has a remarkable middle movement,
which is called Dialogo tra Pasquino e Marforio, in the
form of a recitative. This is explained in the liner-notes:
"Pasquinio and Marforio are names still used today in Rome
for two statutes [=statues] from the Roman age, on which in
past centuries the inhabitants of the Eternal City used to place
mocking epigraphs and messages (called 'Pasquinate') referring
to the establishment or public personalities. The statues were
also called 'talking statues'; in Rome there were no fewer than
six statues of this type, though Pasquino and Marforio were
the most famous. Galuppi's short recitative may then be a playful
allusion to some fact or event witnessed at the time of composition,
or it might bear cryptic references to his time which, at the
moment, we cannot clarify". This can only become clearer
if we knew for sure the exact date and place of composition.
These trio sonatas are late specimens of a genre soon to disappear
to make way for trios in which all parts were treated strictly
equally, like the string trio. The Accademia dei Solinghi delivers
good performances which may be a little less polished than we
are used to hearing from the best ensembles of today. I have
greatly enjoyed this disc, though, and if you decide to purchase
it you certainly won't be disappointed. Music and performance
make this recording well worth investigating.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
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