Alessandro SCARLATTI (1660 - 1725)
Alto Cantatas
Concerto for recorder, 2 violins and bc in c minor [8:42]
Perchè tacete, regolati concenti?, cantata for alto, 2 violins and bc
[21:37]
Sonata a quattro for 2 violins, viola and bass in g minor [5:58]
Filen, mio caro bene, cantata for alto, recorder, 2 violins and bc
[13:32]
Sonata a quattro for 2 violins, viola and bass in d minor [5:34]
Concerto for recorder, 2 violins and bc in a minor [11:16]
Gabriella Martellacci (contralto)
Insieme Strumentale di Roma (Dario Benigno (recorder), Giorgio Sasso,
Paolo Perrone (violin), Teresa Ceccato (viola), Diego Roncalli (cello), Luca
Cola (double bass), Salvatore Carchiolo (harpsichord), Marco Silvi
(organ))/Giorgio Sasso
rec. October 2012, Basilica dei Santi Bonifacio e Alessio, Rome, Italy.
DDD
Texts included, no translations
BRILLIANT CLASSICS 94440 [66:56]
The title of this disc is not quite correct. It suggests that it is
devoted to cantatas for contralto, but in fact the programme includes only
two cantatas and these take up about half the playing time. The other half
is filled with instrumental works. The reference to the type of voice for
which the two cantatas are written makes sense. Alessandro Scarlatti was the
most prolific composer of chamber cantatas of his time, but only about ten
percent of his output in this genre is scored for an alto voice. The large
majority is for soprano, and that was the common scoring during the whole
period in which this kind of works was written, roughly speaking between
1680 and 1740.
There is another remarkable aspect of these two cantatas. The voice is not
only supported by the basso continuo, but also by treble instruments. In
both cantatas Scarlatti included parts for two violins, and in Filen,
mio caro bene these are joined by a recorder. The cantatas date from
different stages in Scarlatti's career. The latter cantata adopts the
pattern that was to become the standard in the first half of the 18th
century: two pairs of recitative and da capo aria, in this case preceded by
a sinfonia. Perchè tacete, regolati concenti is an early work and
here the structure is much looser. The opening sinfonia is followed by a
recitative and an aria. The latter is strophic; both stanzas have a da capo.
Then follows another recitative and an aria with ritornello. Next come two
pairs of recitative and aria; only the first has a da capo.
The authors of the lyrics are mostly unknown. It is assumed that Scarlatti
himself wrote the texts of many cantatas as he was once described as
'professor also of Poetry'. In his liner-notes Salvatore
Carchiolo states that the literary quality of most lyrics is rather limited,
and that their main purpose was to offer the composer the opportunity to set
them in such a way that he could stir the emotions of the listeners. We must
take his word for it, because the booklet includes the lyrics, but omits any
translations. That makes it also impossible to assess how Gabriella
Martellacci deals with the texts. Her singing is admirable: she is a real
contralto, with a rather deep and strong, but also warm and pleasant, voice.
She sings the recitatives very nicely, with the necessary rhythmic freedom.
In the da capos she adds some ornamentation, but doesn't overdo it
and resists the temptation to rewrite complete lines.
She makes a stronger impression than the instrumental ensemble. In the
cantatas they do pretty well, but especially in the two concertos (or
sonatas) with recorder they produce a rather weak sound, sometimes even
hesitant. These concertos are part of a famous collection, known as the
Manoscritto di Napoli 1725, with pieces by Scarlatti and several
other composers, all written for recorder, strings and bc. These are not
solo concertos, but rather concerti da camera in which recorder and
strings are treated on an equal footing. These concertos are available in
several - and mostly better - recordings. Part of the problem is also the
recording. It seems as if the miking of the various pieces is different. In
these two concertos the instruments have less presence than in the two
sonate a quattro. Moreover, a cathedral is not the most suitable
venue for this kind of repertoire. Especially in the cantatas there is more
reverberation than one would wish.
The two sonate a quattro are the most interesting parts of the
instrumental oeuvre on this disc. They are from a set of four which reflect
Scarlatti's preference for and skills in counterpoint. He suggested
performance without a keyboard instrument, and that is how they are played
here. That way they are not very different from the consort music of the
renaissance. Here again the string parts are treated on strictly equal
terms. Carchiolo sees this preference as one of the reasons that Scarlatti
ended his life in a state of relative obscurity as his music was
stylistically out of touch with contemporary taste. We should enjoy them:
these sonatas are very nice pieces which deserve to be part of the standard
repertoire. Fortunately they are played here rather well, although certainly
not perfect. I could imagine a more engaging performance, with a more
brilliant sound from the violins.
Most of the performances are enjoyable, but as there are also serious
shortcomings I am not fully happy with this disc. I would have preferred the
inclusion of the two remaining string sonatas instead of the recorder
concertos. It is also regrettable that Brilliant Classics omitted
translations of the cantatas. That seems to be the label's policy
lately, and that is not something to celebrate. It may be a budget label,
but they should realise that many purchasers are condemned to miss what the
cantatas are about and how Scarlatti dealt with the texts.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Support us financially by purchasing this disc from |
|
 |
 |
 |
 |