Domenico CIMAROSA (1749-1801)
Keyboard Sonatas 2
Sonata in C, R.19 [3:52]
Sonata in G, R.20 [5:22]
Sonata in C, R.21 [5:30]
Sonata in A, R.22 [4:49]
Sonata in B flat, R.23 [6:23]
Sonata in D, R.24 [4:52]
Sonata in C minor, R.25 [4:03]
Sonata in B flat, R.26 [4:51]
Sonata in D minor, R.27 [7:06]
Sonata in D, R.28 [7:45]
Sonata in B flat, R.29 [7:49]
Sonata in C, R.30 [4:10]
Sonata in G, R.31 [1:03]
Sonata in F, R.32 [2:36]
Sonata in C, R.33 [2:10]
Sonata in B flat, R.34 [2:20]
Sonata in A, R.35 [2:00]
Victor Sangiorgio (piano)
rec. Wyastone Concert Hall, Monmouth, Wales, 15-16 November 2009. DDD
NAXOS 8.572689 [76:44]
This is Naxos's second volume of Domenico Cimarosa's keyboard sonatas performed
on a modern piano by Italian-born, UK-based soloist Victor Sangiorgio. Following
Sonatas R.1-18, Sangiorgio here presents Sonatas R.19-35 (R standing for Nick
Rossi, whose edition is published by Artaria), thereby completing his cycle
of the complete known sonata movements of Cimarosa.
In some ways, Cimarosa is a younger version of compatriot Baldassare Galuppi,
another composer whose large and well-known opera output has overshadowed
his instrumental music. Naxos published two volumes of Galuppi's own keyboard
sonatas in 2011, also on a modern piano (review,
review),
but have been rather slower to release the second Cimarosa, after the first
came out in 2009 (review).
On the other hand, as the notes reiterate, there is not too much concrete
evidence beyond a dusty volume title that Cimarosa actually wrote these Sonatas
- more perhaps an absence of evidence that he did not! It is also fair to
say that the works, all of which came to light in the 20th century as single
movements, are grouped into more standard-looking sonatas as much by key-
and mood-based modern guesswork than according to any definite instructions
by Cimarosa.
In musical terms, aside from the generous extra ten minutes, this disc is
practically the spitting image of the first. Cimarosa very likely wrote these
works for the fortepiano rather than the harpsichord, but they do sound very
much like harpsichord music, most obviously in the lack of variation in dynamics
and articulation - adhered to in performance by Sangiorgio - indications for
which Cimarosa all but omitted.
The majority of the single movements are one or two minutes in length, with
just a single item running to four. It would be pointless, therefore, to expect
much depth, but Cimarosa was certainly not frivolous in his keyboard writing:
these are well-crafted, elegant, melodious, generally optimistic pieces, with
the occasional recourse to minor key reflection of a more expressive nature.
It would be wrong to measure Cimarosa's Sonatas against the countless masterpieces
of the genre of Domenico Scarlatti, or for that matter against those quite
different later works of Haydn and Mozart: for one thing, Cimarosa was writing
in another era with different expectations, and for another, of course, he
may not even be the author!
Victor Sangiorgio gives a faithful, cogent and infectious account of the music.
Nonetheless, if Cimarosa's artistry is not to be relegated undeservedly to
background music, it will probably be better served sampled in smaller doses.
This recording was made two years after the first disc, and in a different
location. Nevertheless, sound quality is pretty much ideal. The booklet notes,
co-written by Allan Badley and Nick Rossi himself, are brief but informative.
The cover photo should enthuse fans of Ligurian balconies everywhere.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
Sangiorgio gives a faithful, cogent and infectious account
of the music.