Salvatore LANZETTI (1710-1780)
Sonatas for Violoncello and Basso Continuo Op. 1 - Vol. 1
Sonata in a minor, op. 1,9 [10:45]
Sonata in G, op. 1,1 [08:25]
Sonata in B flat, op. 1,6 [12:21]
Sonata ini a minor, op. 1,5 [12:46]
Sonata in A, op. 1,2 [10:12]
Sonata in F, op. 1,11 [14:26]
Agnieszka Oszańca (cello), Maria Misiarz (cello [b.c.]), Gabriele Palomba (theorbo), Fabio Bonizzoni (harpsichord)
rec. 2019, Sala musicale 'Giardino', Crema, Italy
CHALLENGE CLASSICS CC72794 [68:55]
Salvatore Lanzetti is an important figure in the history of the cello. He contributed to the development of playing technique, and after his settlement in England, he played a key role in the popularisation of his instrument there.
Lanzetti was born in Naples and studied at the conservatory of Santa Maria di Loreto. In 1727 he entered the service of Vittorio Amedeo II in Turin; during his time there he was able to travel as a performer across northern Europe. In the second half of the 1730s he went to Paris and then to London. In the latter city he lived until at least 1754. Around 1760 he returned to Turin, where he re-entered the service of the royal chapel. He seems to have remained there for the rest of his life.
His oeuvre is not that large, but of great importance as it bears witness to his own virtuosity and his contributions to the development of playing technique. The twelve sonatas Op. 1 were followed by two sets of six sonatas each, scored for two cellos and basso continuo, with the flute as alternative. The latter is an indication of the fact that the cello was not widely played by amateurs in his time, and that among those the flute was by far the most popular instrument. Obviously, this means that the playing technique used in such sonatas can't be too advanced, and has to omit double stopping, which is a feature of some sonatas in his Op. 1. Later on, he published two sets of solo sonatas in Paris.
The present disc is the first of a complete recording of the Op. 1. It is notable that this set is divided into three parts, each comprising four sonatas. The first series is intended for amateurs, and these sonatas are technically not that demanding. Moreover, here Lanzetti stays in the lower register and only uses the bass clef. The second part is more complicated; here Lanzetti makes use of bass and tenor clef. The four remaining sonatas are virtuosic and intended for professional players, and written in four different clefs. Agnieszka Oszanca plays here two sonatas from each of the three sections.
Lanzetti mixes elements of the Italian and the French style. An example of the latter is the rondeau, which closes the Sonata No. 1. In the two fast movements, we find frequent dynamic indications. Many forte episodes last only two bars and then the player has to turn to piano, or the other way around. The same is the case in the Sonata No. 2, which has again three movements; the first and last both bear the indication cantabile.
The Sonatas Nos. 5 and 6 are from the second section. Right from the start, it is notable that this is technically more demanding. In the Sonata No. 5 double stopping is introduced in the fourth bar, and it is repeated a couple of times, but not that frequently. Again, we see here many dynamic indications. The sonata opens with an adagio, with the addition cantabile. Towards the end, Agnieszka Oszanca inserts a cadenza. The second movement includes double stopping. The last movement is a menuet with trio. The Sonata No. 6 opens with a movement in binary form. After a largo, the sonata closes with a gavotta with six variations.
The Sonata No. 9 is the first of the last section, which comprises the technically most advanced sonatas. It is in three movements: adagio, allegro, andante. They include double stopping and chords of three notes. In the last movement, the cello moves into the highest positions. The Sonata No. 11 is in three movements again, and opens with an allegro. The second movement is in three sections: adagio, allegro, adagio. The last movement is another rondeau, with the tempo indication andante.
It is quite interesting to follow the technical developments within these six sonatas, which give us some insight into the qualities of the composer, but also into what was going on with regard to playing technique and the differences between amateurs and professionals. However, these pieces are more than just demonstrations of the technical features of the cello and its playing technique. These sonatas are very fine pieces, and that comes off very well in these performances. The allegro from the Sonata No. 5, for instance, includes delightful thematic material, and Oszanca and her colleagues perform it with verve and energy. They show a very good sense for the character of these works, they make the most of the dynamic contrasts, and the rhythmic pulse is perfectly realised, thanks to the observation of the difference between good and bad notes.
In short, this is a most entertaining and compelling disc, and I am looking forward to the second volume with the remaining six sonatas.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
