This is a very important recording, as it is the first time the original piano quartet version of the Eroica Symphony has been recorded. (it should not be confused with the arrangement by Ferdinand Ries published 50 years later). This anonymous arrangement was made at Beethoven's insistence (though he had requested a string quintet) and published in 1807, three years after the orchestral premiere. The writing is far superior to that of Ries in the later version, and this work stands as a fine and magisterial piano quartet in it's own right.

Mozart married Constanze Weber in 1782, and it is thanks to her diligent curation of ‘these marvellousrelics’ that we have these rarely heard fragments including fugues which reveal the influence of Bach anddemonstrate Mozart’s agility with sophisticated contrapuntal techniques. The more substantial Rondoshave gained popularity with their memorable themes and musical depth, while forays into Baroque stylecan be heard in the unfinished Suite. These, the improvisational Fantasias and a mocking parody of aFuneral March all highlight neglected facets of Mozart’s oeuvre.

REVIEW:

After the already magnificent 5 CD release of the label Capriccio with religious choral music by Telemann (C7215), the label continues with the recording of impressive cantatas and oratorios by Carl Philipp Emanuel Bach conducted by Hermann Max. For three decades, Hermann Max has made a very important contribution to historical performance practice.

Highlights in the box are the Magnificat and “Die Auferstehung und Himmelfahrt Jesu”. Although there is no conclusive evidence, it seems likely that in the summer of 1749 Bach composed his Magnificat as a calling card, with a view to succeeding his ill father as Thomaskantor in Leipzig. He went to the post after the death of Johann Sebastian in 1750, and again in 1755, but without success. Three decades later, as music director in Hamburg, Philipp Emanuel revised his Magnificat for a performance in 1779, adding trumpets and timpani, expanding horn parts and composing a new “Et misericordia”.

This recording follows the revised version but retains the poignant “Et misericordia” from the 1749 version. On one level, Emanuel's masterpiece pays homage to his father's Magnificat, in the euphoria of the radiant opening, the muscular arpeggio motif illustrating “Fecit potentiam”, and the almost literal quote on “Deposuit potentes”, for which he, like his father, composed a torrent of tumbling scales. In the gigantic, last movement, starting as an old-style fugue on “Sicut erat in principio”, but expanding into a majestic double fugue with a new counter subject to the word “Amen”, Emanuel unfolded, just like his father, his handsome, contrapuntal mastery.

– Stretto

For Russian pianist Ekaterina Litvintseva’s first-ever live recording, this young, up-and-coming Russian pianist, together with conductor Heribert Beissel and the Klassische Philharmonie, Bonn produced a recording of two Mozart concerto masterpieces, the No.9 in E flat Major, K271 (“Jeunehomme”), arguably his first masterwork in this genre, and the No. 12 in A, K414. “(A) singing allegro, eloquence and staying power in the…minor middle movement and perfect motor skills in the Presto…” (Bielefeld Neue Westfälische, K271 concert review)

Classical Music

Especially with Beethoven Idil Biret proved herself a great artist with breathtaking depth of expression and dramatic performing power... The big applause was fully deserved. KURIER "Biret grasps the size of Beethoven' style.

Mozart: Don Giovanni, K. 527 (Sung in German) [Recorded 1955

This new release is the eleventh volume in Profil's Semperoper Edition, and features Johann Adolf Hasse's three-act opera Attilio Regolo. Attilio Regolo is an Italian-language opera seria by Johann Adolph Hasse based on the story of Marcus Atilius Regulus, a Roman general taken prisoner in Carthage, who elects death rather than ransom. Metastasio wrote the libretto in 1740 for the birthday of the emperor Charles VI but the illness, then death, of the emperor prevented the libretto being set to music at the time. Hasse's opera was performed in Dresden in 1750. The role of Regolo was taken by the castrato Domenico Annibale, while Attilia was composed for Hasse's wife Faustina Bordoni. Frieder Bernius leads an all-star cast for this interpretation of the rarely performed work.

Ssens Trio (pronounced "Essence") was established in 2014 by three musicians with a wealth of experience in the international music scene. The trio has appeared in concert with Geir Inge Lotsberg, Elvind Ringstad, Havard Gimse and Leif Ove Andsnes, among others. Their first album, "Beethoven: String Trio Op. 3 & Serenade Op. 8" received Pizzicato Magazine's "Supersonic Award" and a prestigious ICMA Awards nomination in 2018. Fanfare Magazine wrote: "With absolutely no hesitation I will say that it goes right to the top of my Beethoven String Trios list." (Jerry Dubins). And the following from a review in Pizzicato Magazine under the heading 'Beethoven With A Communicative Joy of Music Making:' "Their performance is brimming with the joy of playing together. An outstanding 'trialogue,' with each performer fully sensing the other. Through this interactive music-making, which in the Adagio and Minuet movements invokes a remarkably intimate mood, Beethoven's works gain in depth and sensuousness. And when one combines the sensitive playing with a wonderfully eloquent virtuosity, the way is clear for pure listening pleasure." (Alain Steffen)

The first of two Haydn recordings from Robin Ticciati and the Scottish Chamber Orchestra presents a “D Major” overview of Franz Joseph Haydn’s symphonic repertoire. From Haydn’s early period the Baroque influenced Symphony No. 31, ‘Horn Signal’ has an almost Gothic tinged feel with highly contrapuntal elements. Counterpoint is found in abundance throughout Symphony No. 70, a work written in the devastating aftermath of a fire on the Esterházy grounds, destroying buildings, instruments and consuming music scores. One of the famous ‘London Symphonies’, No. 101, ‘The Clock’ has its focus firmly on the future. Robin Ticciati is in his fifth season as Principal Conductor of the SCO. Gramophone named Robin one of the top ten young ‘conductors on the verge of greatness’ and one of 'Tomorrow's Icons'. “[an] exhilaratingly free performance of The Clock…the tick-tock Andante had a fragile grandeur that was disarming and poignant.” (The Guardian)

Classical Music

Beethoven: Piano Sonatas, Piano Concerto No. 3, 8 Bagatelles

Gaspare Spontini’s “Le Metamorfosi di Pasquale,” was premiered in Venice in 1802. This one-act farce, on a libretto by Giuseppe Foppa was to be his last work for the Italian stage. After its debut, in fact, the young composer moved on to Paris and then to Berlin and the score of this work was lost until 2016, when it was unearthed in the library of the Dukes of Ursel in Belgium. This 2-album release is a world premiere recording of a Fondazione Pergolesi Spontini di Jesi and Fondazione Teatro La Fenice di Venezia coproduction. Baurzham Anderzhanov stars in the title role, alongside other impressive soloists including Carlo Feola, Michela Antenucci, Daniele Adriani, and others.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’.

Wolfgang Amadeus Mozart
LE NOZZE DI FIGARO

(Blu-ray Disc Version)
Countess Almaviva – Sally Matthews
Figaro – Vito Priante
Count Almaviva – Audun Iversen
Susanna – Lydia Teuscher
Cherubino – Isabel Leonard
Bartolo – Andrew Shore
Marcellina – Ann Murray
Don Basilio – Alan Oke
Antonio – Nicholas Folwell
Don Curzio – Colin Judson
Barbarina – Sarah Shafer
First Bridesmaid – Ellie Laugharne
Second Bridesmaid – Katie Bray

Glyndebourne Chorus
Orchestra of the Age of Enlightenment
Robin Ticciati, conductor

Michael Grandage, stage director

Recorded live at Glyndebourne Festival, June 2012

Bonus:
- The Greatest Opera Ever Written
- From page to stage

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Japanese, Korean
Running time: 180 mins
No. of Discs: 1


REVIEWS

Despite some qualification, Glyndebourne’s new Figaro (summer 2012) is a delight. The curtain opens during the overture on the outside of a Spanish mansion—just what we might expect from an opera set on the outskirts of Seville—with shiny tiles, Moorish arches, and handsome latticework, and townsfolk bustling back and forth. It’s startling to see a circa late-1960s red sports car pull up and have the Almavivas get out: they’re coming home from somewhere or settling into their summer getaway. The Count is the very picture of not-such-great-taste, sporting a page-boy haircut and costumed in a velvet suit with bell-bottomed pants and a wide-lapelled, multi-colored shirt. He obviously is quite a swinging dude, and director Michael Grandage and his wonderful designer Christopher Oram have placed the opera in the decade of the flower children. Will this work?

We meet Figaro and Susanna, dressed more moderately (she would appear to be pregnant in a black outfit with white collar, but it’s never mentioned) and nicely familiar. She is spunky and he seems like a nice guy, and he certainly doesn’t like the fact that his boss wants to sleep with his fiancée, although she seems able to take care of herself. And why should Figaro like it? This is the 1960s or ’70s, and despite the fact that Franco is still in power, the Count’s request is not a feudal right; it’s nothing but bullying. And so Beaumarchais’ and da Ponte’s satire on class war no longer exists, and that tends to be the crux of the opera in its original setting.

Instead, we get the never-ending battle of the sexes, a look at an unhappy marriage, and a rather nasty, wealthy guy with a sense of entitlement along with a pretty good comedy peopled by what seem like real people. During “Non piu andrai”, which Figaro sings while the Count is present, the two men hang out like chums, Figaro leaning with an arm on the Count’s shoulder. Susanna never curtsies and she seems genuinely concerned with cheering up the Countess. If you’re willing to forego the pre-Revolutionary subtext, you’ll have a fine time, especially watching the cast do the twist at the wedding and during the finale. The absolutely natural stage action eschews slapstick and vulgarity and the singers seem more than happy to adapt. Vito Priante’s Figaro, shorn of class anger, is a bit mild, but his stage presence and singing are extraordinary. Rhythmically precise throughout, he eats up “Aprite un po’…” in the last act and is superb in ensembles. Lydia Teuscher’s Susanna is a rich-voiced, non-soubrette, observant Countess-in-the-making; and of course, within this context she might some day have the same social standing. Sally Matthews, if she had a trill for the end of “Dov’e sono”, would be a perfect Countess: her predicament is very clear, and you sense that she wishes she were more lighthearted, more able to adjust to the swinging attitudes going on around her. The voice itself is a gorgeous, full lyric. Audun Iversen’s Count is a sloppy, privileged tyrant, all the more frustrated because no one will pay any attention to his nastiness. His singing is the least neat of all, but he’s a powerful presence. Isabel Leonard’s Cherubino is perfect—boyish and sassy and nimble.

Class acts Ann Murray and Andrew Shore, both a bit vocally worn, are nonetheless a terrific Marzellina and Bartolo, and Alan Oke’s Basilio is snidely right-on. (Neither he nor Marzellina get their last-act arias.) Sarah Shafer is a fine Barbarina, looking to be about 14 years old. And as mentioned, Oram’s luxurious sets add to the special feel of the production. I’m somewhat stumped by Robin Ticciati’s conducting of the Orchestra of the Age of Enlightenment. The instruments are period but the approach is mid-20th century—not slow or heavy, really, but somehow lacking the zip we expect these days. The finale of Act 2 is wonderfully clear but lacks the “accidental” mania it should have. There are plenty of laughs from the Glyndebourne audience, but the whole affair is not the insane day Mozart envisioned. The preferred DVD versions are Pappano’s from Covent Garden (Opus Arte) and Jacobs’ (on BelAir); nonetheless, this new one is fresh and charming and a good bet.

-- Robert Levine, ClassicsToday.com

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MOZART Le nozze di Figaro & • Robin Ticciati, cond; Vito Priante (Figaro); Lydia Teuscher (Susanna); Audun Iversen (Almaviva); Sally Matthews (Countess); Isabel Leonard (Cherubino); Ann Murray (Marcellina); Andrew Shore (Bartolo); Sarah Shafer (Barbarina); Alan Oke (Don Basilio); O of the Age of Enlightenment; Glyndebourne Ch • OPUS ARTE 7118 (Blu-ray: 154:00+14:00) Live: Glyndebourne 2012

& Le Nozze di Figaro: The Greatest Opera Ever Written? Le Nozze di Figaro: From Page to Stage

What do we have here? A Marriage of Figaro where the noble couple arrive home in a snazzy Austin-Healey convertible; where the Susanna sports a 1950s-style maternity top and an obvious baby bump in her wedding dress; where the Count wears a velour-trousered leisure suit with bell bottoms, and shares a hand-rolled joint with his maid while trying to grope her; where the peasants at the festivities (along with the Count) dance the Twist and the Frug; where several of the characters look like they were outfitted on London’s Carnaby Street in the 1960s. We get all of that, along with some lavish Moorish-style sets and a historically informed pit band, in this 2012 Blu-ray video from the Glyndebourne Festival. Helped along by some excellent singing, it all proves quite satisfactory and highly entertaining.

I’m not sure a pregnant Susanna makes much more sense than a pregnant Juliet; after all, the Count is supposed to be trying to amorously seduce her, and is asked to attest to her virginal status prior to the wedding. But when a pregnant lead soprano turns up for work, I suppose the show must go on. The soprano in question, young German lyric Lydia Teuscher, does, in truth, look quite attractive and well worth seducing even in maternity garb, and the fine singing she brings to Susanna more than compensates for the slight loss in verity to Da Ponte’s libretto. In fact, all of the singing is quite excellent, down to the luxury casting of noted mezzo-soprano Ann Murray in the role of Marcellina. (Unfortunately, her act IV aria, along with Don Basilio’s, is cut.) Young Italian bass-baritone Vito Priante brings a rich and accurate instrument to Mozart’s title character, and his rather hyperkinetic acting has been toned down a bit by director Michael Grandage to more properly fit the production concept (and the close-up cameras). Aside from Murray, the best-known singer in the cast is probably British soprano Sally Matthews, who here is a quite lovely and enjoyable Countess and provides finely sung versions of “Porgi amor” and “Dove sono.” She also combines beautifully with Teuscher to sing a consummate “Sull’ aria,” one of my favorite duets in all opera. The Count with his 60s-style Mod haircut, mustache, and hippie style clothes, comes off as a bit ridiculous, robbing the character of any real menace, but baritone Audun Iversen also has a fine, rich voice, and brings a rather comedic swagger to the part. He also brings much avid physical contact to his enthusiastic pursuit of Susanna. (One might wonder why in the Act IV Garden Scene he fails to notice the lady he is embracing is minus the belly). Isabel Leonard continues her rapid climb to the top ranks with this lively and endearing portrayal of boy Cherubino; some say she steals the show here. Oh, and she can really sing, a joy to listen to. As usual for Glyndebourne, the smaller roles are finely cast as well. The Orchestra of the Age of Enlightenment provides a properly light touch in Mozart’s score, just as this wonderful little light comedy demands.

There are over 20 versions of this opera out on video, several fine ones among them. In Blu-ray format the field is much smaller. Perhaps the Covent Garden production from 2006 with Erwin Schrott in the title role is the equal to this one, I haven’t seen it, but it has gotten good reviews. As with nearly all Glyndebourne productions I have seen, they provide full value here with elegant sets, fine singers, and a well-rehearsed cast in a charming staging. Le Nozze is a bit of a special opera for the Festival, as it inaugurated the series back in 1934 with a cast including the owner’s wife, Audrey Mildmay. The Glyndebourne forces have done the opera full justice in this new production, and this entertaining Blu-ray set deserves to be highly recommended.

FANFARE: Bill White

Includes work(s) by Giovanni Paisiello. Conductor: Federico Guglielmo. Soloists: Furio Zanasi, Donatella Lombardi, Luca Dordolo, Marina De Liso.

An attractive looking production, very traditional but lively and detailed in cloak swirling commedia dell’arte style, in Mozart-era costume and massive neo-Classical sets.
Out of the old school, is Muti’s conducting, …reasonably brisk and dramatically effective. As such, though it’s not my favourite reading, I very much enjoyed it.

We’re lucky to have Sir Thomas Allen’s Don, though a decade after his Glyndebourne triumph in the role. His acting is more youthful and psychotically magnetic than in James Conlon’s Cologne recording. ‘La ci darem la mano’…an unsettling mix of seduction and stalking. Francisco Araiza is an ardently Italianate Ortavio. Ann Murray is…Donna Elvira, imperious and touching. Suzanne Mentzer’s sparkling but vulnerable Zerlina, convincing in her rapport with Natale de Carolis’s light-voiced…Mavetto. The chorus work a lot harder than they sometimes do at La Scala, to good effect. All told, this staging is much richer than Michael Hampe’s worthy but rather drab incarnations for Karajan and Conlon. At mid-price this is very appealing.’

- Gramophone

Daniela Dessi and Delores Ziegler lead the cast in Mozart's brilliant and witty opera, as the two women whose faithfulness in the face of romantic love is ruthlessly tested in Da Ponte's comic tale. Mozart lavishes some of the finest music ever written on the unfolding story of the two sisters' chaotic and fickle love affairs with their two Italian army officers.

Fiordiligi: Daniela Dessi | Dorabella: Delores Ziegler | Guglielmo: Alessandro Corbelli | Ferrando: Jozef Kundlak | Despina: Adelina Scarabelli | Don Alfonso| Claudio Desderi

Orchestra & Chorus of Teatro alla Scala, Conductor Riccardo Muti

Part six of this mid-price collection, this DVD includes a 32 page booklet with full libretto by Lorenzo Da Ponte

ALL REGIONS
SUBTITLES: ENGLISH
Running time 186 mins
Picture format 4:3
Sound format Dolby Stereo

TARTINI, G.: Violin Concertos, Vol. 7 (L'Arte dell'Arco) -

GALUPPI 6 Trio Sonatas • Accademia dei Solinghi • DYNAMIC 694 (54:05)


Venetian composer Baldassare Galuppi wrote his six trio sonatas, according to Danilo Prefumo’s notes, in 1760, and with their homophonic textures, relatively simple melodic patterns diced into relatively short, often repeated phrases, and their division into three movements each (fast-slow-fast), they look forward to the Classical era rather than back toward the Baroque, despite their being composed in the venerable genre of the trio sonata (it’s a case of new wine in old bottles rather than old wine in new bottles). William S. Newman treated Galuppi’s works (primarily his keyboard sonatas) in his book on the Classical era rather than in his volume on the Baroque: He deemed Galuppi a preeminent pre-Classical composer. The sonatas surely aren’t without affecting sentiment, as the First Sonata’s slow movement or especially the sighs from the Second Sonata’s corresponding movement show (in addition, in the Second Sonata, to the dialog pitting the two violins against the harpsichord). The first movement of the Second Sonata bustles with a kind of energy that even Antonio Vivaldi’s sharply chiseled concerto subjects don’t always evince. It may not be surprising to find all these concertos written in the major mode (in this case, A, F, D, G, B?, and E) in light of Newman’s estimate that Galuppi wrote more than 80 percent of his sonatas in major.


In general, the sonatas’ first movements crackle (many listeners, cueing a random track, might relatively easily identify it as a first movement or a finale); the second movements, as noted above, include sensitive turns of phrase and harmonic subtleties (some even recalling Mozart, though Newman dismisses the suggestion of a direct influence on the later composer); the finales, though often marked Allegro , frequently glide elegantly rather than drive forward (with occasional exceptions, like the finale of the Fifth Sonata, the jaunty figuration of which spans both manners). Prefumo notes the title given the Sixth Sonata’s slow movement, Dialogo tra Pasquino e Marforio , perhaps referring to two Roman “talking statues.” In any case, this brief movement, subtitled Recitativo instrumentato , features passages that Galuppi, as a noted opera composer, may have delighted to transfer to this instrumental genre; the sonata’s finale also bears a title, in this case, Ritornello , though the device hardly suggests the one by the same name that characterized Vivaldi’s concertos. The Accademia dei Solinghi (Claudio Adriani playing an Andrea Guarneri violin from 1675, Franco Simeoni playing a violin made in 2007 by Franco Simeoni, Alessandro Peiretti playing an anonymous late 18th-century cello, and Rita Peiretti playing a harpsichord made by Davide Peiretti in 1986) endows these sonatas with a brusque energy that brings to vivid life Charles Burney’s remarks, after he’d encountered Galuppi’s music in Italy, about the composer’s youthful imagination. Dynamic has provided a close up portrait of the ensemble, yet surrounds the instruments with enough reverberation to fuse their crunchy textures into a pleasingly mellifluous amalgam. On the basis of the sonatas’ lively and ingratiating melodic imagination and of the energetic and sympathetic performances by the Accademia, Dynamic’s release should appeal more widely than to specialists.


FANFARE: Robert Maxham


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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, MusicWeb International

Classical Music

Luigi Boccherini’s contemporaries ranked him with Joseph Haydn, but during later times the high esteem enjoyed by his music faded – when everything of Italian origin that was not an opera was generally dismissed. The young musicians of Scala köln believe that it is high time to reopen Boccherini’s case and are now presenting the results of their new investigation: a delightful program demonstrating that Boccherini’s treasure trove holds more in store than just his famous Minuet. The musicians of Scala koln, led by the violinist Christoph Mayer and the oboist Monika Nielen, bring this music to the stage in fresh new interpretations that are historically informed and feature period instruments. The mixed instrumentation with winds and strings comes with a guarantee of richly varied listening pleasure- boredom is absolutely out of the question!

Baroque composer and violinist Giuseppe Tartini took up the violin after fleeing persecution by Cardinal Giorgio Cornaro. While seeking refuge at the monastery of St. Francis in Assisi, he heard Francesco Maria Veracini’s playing. After hearing such virtuosic talent, he fled to Ancona and locked himself away to practice, emerging an extraordinary violinist. Tartini’s Sonatas show the intimacy of the composer’s abilities, while the Concertos broadcast the musician’s big artistic personality. The works brilliantly complement one another on this release. For more than twenty years, violinist Crtomir Siskovic has dedicated himself to Baroque music. He performs with a violin and bow from the era, and has recorded multiple albums of Tartini’s music.

As Petrobelli wrote, Tartini's "declared intent was to achieve in the instrumental field, with a language suited to the nature of the instrument, the affections that are perfectly outlined in the arias of Metastasio's operas." The first sonatas of the collection are mostly structured in three movements, with a slow movement followed by two fast ones, as was Tartini's favourite scheme from the eighth sonata, instead, the structure in four movements becomes predominant, with a rich variety of formal patterns. Some movements bear mottos and literary quotations (like Metastasio's arias, frequently used also in the concertos, or Tasso's Aria Lieto ti prendo with which Tartini opens his Sonata No. 12 in G major, taken from the 12th canto of the Gerusalemme liberata). In them Tartini makes a fine display of his inexhaustible melodic creativity, always shunning easy symmetries and predictable developments. There are many passages with polyphonic hints, although virtuosity always appears subject to expressiveness and never a simple show of bravura. Frequent also are the hints and melodic inflections echoing popular songs and dances of the day, as for example in the Canzone Venetiana of the Sonata No. 12 in G major, or the second movement (Allegro assai) of the Sonata No. 5 in F major. Tartini is never obvious and even less predictable secluded in his Padua, he was a self-contained composer who disdained the world around him and possessed the creative power typical of - indeed, almost exclusive to - great anachronistic men.

A successful musician in the early 19th century, Giovanni Simone Mayr composed the opera Medea in Corinto in 1813, the same year it premiered at the San Carlo theatre in Naples. The two act tragedy with libretto by Felice Romani was Mayr’s most popular theatrical work. The story is that of the Greek myth of Medea. “Michael Spyres, in the role of Jason, confirms to be one of the finest belcanto performers of the moment, endowed with a nimble voice and pure and solid high notes.” (Dynamic)

Hummel’s affinity with Mozart’s musical language began in 1786, when the very young Johann Nepomuk lodged with the Mozart family in their home for two years. • Hummel’s interest in, and knowledge of his teacher’s works for fortepiano and orchestra is attested by many accounts. • This recognized authority, added to the widespread approval he enjoyed as a composer, created the context in which Hummel produced his numerous transcriptions (approx. 50), scored principally for flute, violin, cello and fortepiano, applying now-historically valuable improvisatory practice solutions as well.

A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. It was a success for Hasse, who would, in 1740 and 1760, repropose the same work in two different versions. Our CD features the Venetian version, in world première. The cast is extraordinary, with the countertenor Franco Fagioli giving a great performance of the role that was Farinelli's. Fagioli easily goes up and down the extension of more than three octaves, maintaining a uniform timbre and remarkable power and resonance. Also stunning, is the aria "Pallido sole" sung by Sonia Prina.

Classical Music

A welcome addition … worthy to set alongside the other great achievements of Haydn’s middle period.

This is a real find and a welcome addition to the Naxos catalogue. Haydn is justifiably famous for his oratorios The Seasons and The Creation. The latter has been recorded by these artists for Naxos to great acclaim. Now Andreas Spering and his Capella Augustina have unearthed Haydn’s first, all but forgotten oratorio, The Return of Tobias. The apocryphal subject of Tobias and the angel was extraordinarily popular in Haydn’s Vienna when he was composing this work, and he chose to home in on the section of the story when Tobias (Tobia) returns from his long absence from home and, with the help of his friend Asaria, aka the Archangel Raphael in disguise, cures his father’s blindness. Haydn takes this as an opportunity to create an oratorio which, while not as pacy or fast-moving as The Seasons and The Creation, contains much of beauty, and some very virtuosic singing for both chorus and soloists. Popular as the Tobias legend was in 1775, however, it quickly fell out of favour. It was furthermore felt that Haydn’s oratorio was too long (nearly 3 hours) and difficult to be easily revived so it fell out of favour and has barely been heard since. Length is less of an issue when you listen at home and, thankfully, the artists involved here make this difficult score seem all but effortless.

The first accolades have to go to the young soloists. We might hope that Nikolay Borchev would have sounded a little more weighty as Tobit, the blind father, but he brings pathos and sympathy to what could have seemed a dry character. His opening aria, Ah tu m’ascolta, oh Dio appropriately invokes sympathy for a man who seems to have lost all sympathisers on earth. Similarly Anders J. Dahlin is perhaps less forthcoming than we would expect from the hero of the story, but he brings a wonderfully mellifluous tone to the character of Tobias himself, from his first aria upon his return to his parental home, until the final miracle when his father is healed. The outstanding contributions, however, come from the three women soloists. Anna, Tobias’ aged mother, is characterfully sung by Ann Hallenberg. Her rich, fruity mezzo is perfect for the tone of despair the character needs at the opening, and she lightens her tone admirably when the mood of the piece turns more joyful in Part 2. Listen to her exciting opening aria (CD1, Track 4) and you will see how Haydn can create instant interest in the character, as well as how seemingly easily Hallenberg copes with it. Her nightmare aria is Part 2 is thrilling. Sophie Karthäuser tailors her tone to handle Tobias’ virtuous and dutiful wife, Sara. Most admirable of all, however, is Roberta Invernizzi, singing the role of Raphael. The angel is given appropriately difficult, often stratospheric music and Invernizzi sings it with flawless coloratura and effortless command of the technique.

The chorus seems totally convinced by this work and they throw themselves into their parts as if they were singing opera, which it often feels like they are. Two moments to watch out for: their fugal chorus that ends Part One is particularly exciting, and their stormy Part 2 chorus, Svanisce in un momento was resurrected by Haydn as his concert motet Insanae et vanae curae. The Capella Augustina, a period ensemble founded by Andreas Spering himself, plays this music as if it were written for it, and the chamber textures that Haydn is fond of using sound perfectly judged. Listen to Sarah’s Part 2 aria, Non parmi esser fra gl’uomini for a good example of how well orchestra and soloists blend. Spering holds the whole thing together with assured control, but also a sense of spontaneity, as if the music is unfolding in precisely the correct manner. This CD is a welcome addition to the catalogue, and something worthy to set alongside the other great achievements of Haydn’s middle period. Three cheers to Naxos for choosing to give it such a distinguished outing on CD. The booklet contains commentary, synopsis and Italian texts, but no translations.

-- Simon Thompson, MusicWeb International

Classical Music

Jean Muller writes: "Mozart’s piano sonatas are, according to Charles Rosen, actually quite fully fledged Classical compositions which are in no respect inferior to his works in other genres. Even in the few sonatas composed for pedagogical purposes, the dramatic genius of Mozart that had been sharpened by opera reveals itself. In all his sonatas the astounding, simply inexhaustible melodic richness is perfectly balanced by clear proportions and an osmosis between form and content, and with a dreamy, almost playful lightness. In the two minor-key sonatas, on the other hand, Mozart is shockingly tragic, unexpectedly uncompromising, and on a par with Beethoven in terms of dark, surging power. One particular aspect, however, seems to me to be frequently neglected: the typical Mozart humour. Capricious, mischievous, childish, playful, parodying, affectionate etc – there are not enough adjectives to describe the wit of Mozart. Astonishingly, this humour never has a hurtful or injured tone but is, on the contrary, always deeply gracious and humanistic. The emotional spectrum of Mozart’s humour, with all its diversity, is always focused on the light.“