One of the most grown-up review sites around

2019
52,000 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider


Yes we are selling
Acte Prealable again!
£11 post-free


we also sell Skarbo

and Oboe Classics


TROUBADISC

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas

Book 1 Book 2 Book3
Mota The Triptych: -Website

WYASTONE releases



The Birth of Rhapsody in Blue
A superlative recreation


such a success


An outstanding performance


make acquaintance without delay


Violin Concerto
This is an impressive disc


Strong advocacy
for a British composer


Piano Music - Martin Jones
agreeably crafted


Piano Music 5CDs


Consistently fine


Rare and interesting repertoire


An excellent introduction


A Celebration on Record


An issue of importance


Richard RIJNVOS
A splendid disc


both enlightening and rewarding
additional review

 


Support us financially by purchasing this from

Domenico CIMAROSA (1749-1801)
Overtures - 4
I sdegni per amore: Overture (1776) [8:17]
La finta Frascatana: Overture (1776) [7:08]
I tre amanti: Overture (1777) [7:38]
Le donne rivali: Overture (1780) [8:08]
I finti nobili: Overture (1780) [5:57]
Il pittor parigino: Overture (1781) [10:00]
L'amante combattuto dalle donne di punto – La Biondolina: Overture (1781) [5:03]
Giunio Bruto: Overture (1781) [7:00]
L’amor costante (1782) [6:55]
Czech Chamber Philharmonic Orchestra, Pardubice / Michael Halász
rec. 2014, The House of Music, Pardubice, Czech republic
NAXOS 8.573459 [66:26]

There is a great deal to enjoy in this album. The selections are all tuneful and appealing. The conductor, Michael Halász, understands the Classical style. He moves things along without becoming driven – the opening Allegro con spirito of L’amor costante, in fact, is surprisingly relaxed – but he does tend to let changes of texture, rather than of actual volume, indicate dynamic contrasts, and the players get unstuck here and there in I finti nobili. I would also have preferred more emphasis on the dissonant grace notes in L’amante combattuto. The Pardubice ensemble, at least as recorded, seems unusually well stocked with basses for a “chamber orchestra”. They provide a sturdy foundation for the compact sonority without weighing it down.

It takes a while to get to the really good stuff. For me, what makes this composer stand out is his wind writing. Solos are unfailingly lovely and idiomatic; translucent blocks of tone from the wind choir seduce the ear. Even simple, sustained oboe and horn notes fill in amid the busy strings without causing clutter. (You can hear all of this in Cimarosa’s opera Il matrimonio segreto, and enjoy a good comic opera in the bargain.) In this programme, however, the first four pieces – all tripartite, fast-slow-fast sinfonie (think Mozart 32) – have a generic, string-dominant sound, with the winds merely reinforcing the tuttis. It was only in I finti nobili that I started hearing what I would call the real Cimarosa, including a little horn duet, an extended oboe theme, and, for the recap, a clean, clear flute solo. There is more to come: in Il pittor parigino, some of those sustained tones, including a oboe note below the bustling strings; in Giunio Bruto, a woodwind-and-horn hunting call. The bristling L’amante combattuto reverts to a more conventional style, but the woodwind doublings register more vividly than they did in the earlier pieces.

Mind you, Cimarosa’s imagination still comes through, even where his woodwinds do not. In the three-part sinfonie, most of the slow central movements are in duple meter, yet composer and conductor keep them buoyant. I sdegni per amore and Il pittor parigino even suggest a Minuettish grace. Only the Andante con moto of I tre amanti comes off as square. And, throughout the album, the breezy, unbuttoned exuberance of the Allegros is consistently fetching.

The recording is full and present. The lighter textures evince a spacious acoustic that does not, however, distract from or interfere with the full passages.

Try it. You will like it – some of it, probably, more than the rest.

Stephen Francis Vasta
stevedisque.wordpress.com/blog



We are currently offering in excess of 52,000 reviews


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount



Special offer 50% off
15CDs £83 incl. postage


a vibrant slice of life


BRITISH CELLO WORKS
stylistically assured


About Every Hill and Valley
Swedish Songs


Hallberg and Dente
interesting and most welcome


An inspired partnership
additional review


TOSCA
A valuable document



Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger