TARTINI, G.: Violin Concertos, Vol. 1 (L'Arte dell'Arco) -

Brescianello Terrell Stone, gallichone Sonatas for Gallichone

V 2: BEST OF LA CETRA - 6 VIOL

LE SUITES MEDICEE

LE GRATIE D'AMORE

Includes duo(s) for guitar and violin by Niccolò Paganini. Soloists: Luigi A. Bianchi, Maurizio Preda.

ROSSINI: Italiana in Algeri (L') (The Italian Girl in Algier

LOLLI: Violin Concertos Nos. 1-9 (Complete)

These rarely encountered chamber music scores on this splendid set are certainly worthy of investigation.

Dynamic, the independent Italian record label, based close to Paganini’s birthplace in Genoa, has compiled this ten disc set of their previously issued Paganini recordings. It seems that several of these recordings were receiving their first recording. Although this box includes the complete edition of Paganini’s fifteen quartets for strings and guitar; the three string quartets and a number of other chamber works there is certainly much of Paganini’s chamber music not included here. It omits the large amount of chamber music that Paganini wrote for guitar and violin, solo guitar and for solo violin. There are seventy or so duets for violin and guitar, including the familiar Sonata concertata, MS2, Grand Sonata, MS3 and the Cantabile, MS109. In addition Paganini wrote over a hundred scores for solo guitar. Dynamic have issued discs of a sizeable number of Paganini’s works for violin and guitar and a disc of some of his solo guitar scores.AB The Arts Music label on Red Line has four volumes of the solo guitar music.C With regard to the solo violin music there are many available versions. For the Dynamic label Stefan Milenkovich has recorded the complete music for solo violin - released in 2004 on CDS 402/1-2.

Paganini holds an esteemed status as probably the world’s finest ever virtuoso violinist but his chamber music compositions are, with minor exceptions, almost totally ignored. It is often forgotten that Paganini also played and composed for the guitar. In fact, of the five opus numbers published during his lifetime only the op. 1 set of 24 Caprices for Solo Violin did not include the guitar. It may come as a surprise that Paganini also wrote a sacred choral score entitled Le couvent du mont St. Bernard for violin, chorus and orchestra. I have yet to hear it but it was given its first recording by the Dynamic label.

I have previously reviewed five of the ensemble scores with guitar that are contained on this release on two volumes of recordings from the German based Ambitus label (Vol. 1 AMB97977 and Vol. 2 AMB96899).

It seems that Paganini wrote chamber music from an early age and continued to do so regularly throughout his life. Often he would compose whilst on tour as a virtuoso performer during the long and arduous coach journeys. Biographer Danilo Prefumo has written that, “Paganini’s chamber music is the genuine expression of the more private side of this composer’s musicality …” The general neglect of Paganini’s chamber music is highlighted by the fact that for many decades a large number of the scores have not been generally available for performance. For example his three string quartets MS20 were published as recently as 1976 with a performing edition in 1991; some hundred and fifty years after their composition.

In addition to his fame for composing for the violin Paganini also wrote a substantial amount of music for the guitar. The majority of the scores on this Dynamic release include the guitar. Swiss composer Franz von Wartensee, an associate of Paganini, wrote in his memoirs, “Not everyone knows that Paganini was a first-rate guitarist, since he did not consider it worth the effort to present himself publicly as such.” The sources of information that I have checked are rather vague on the origins and dates of Paganini’s attraction to the guitar. I understand that the main influence was his father Antonio who was himself a mandolin player and it is likely that from an early age Paganini would have received instruction from Antonio. It seems that from around 1801, during the few years that Paganini lived with a wealthy lady on her country estate in Tuscany, his energies were principally channelled into guitar study and composition.

On the whole the music on this Dynamic series is characteristic, lyrical and immensely enjoyable. These scores have a propensity for delivering entertainment rather than cherishing pretensions of greatness; those wanting significant emotional depth to their music should look elsewhere.

Comprising seventy percent of the set the fifteen Quartets for strings and guitar (CDs 1-5); the three Strings quartets (CD 7) and the five Trios for strings and guitar (CD 6) follow a similar sound-world and design. Here Paganini’s typical four movement plan predominantly consists of a quick and entertaining opening movement Allegro followed by a lively and carefree second movement Minuet that verges on a Scherzo. The slow third movement is expressive, aria-like and sweetly lyrical, marked Adagio or Andante. Concluding the score is a brisk and spiritedly ebullient Allegro or Presto that sometimes employs the stricter form of a Rondo.

I especially enjoyed the Theme and eight Variations for two violins and cello, MS117 (CD 8) - an unusual and pleasurable score with a noble theme, followed by a set of eight variations containing a wide range of moods. The twenty one Divertimenti carnevaleschi for two violins and cello, MS4 (CD 8) are a substantial set of short and varied scores.

Included on the final disc is the four Nocturnes for two violins, viola and cello, MS15 (CD 10). Each of the Nocturnes opens with an expressive slow movement that precedes a brisk and lithe dance-like movement. Two interesting and amiable scores are the Sonata per Rovene per mandolino e chitarra (Serenata per Rovene in E minor for mandolin and guitar), MS14 and the Serenata per mandolino e chitarra (Serenata in G major for mandolin and guitar), MS16. Both scores are cast in two brief movements with the mandolin taking the leading role. In a way similar to the four Nocturnes, MS15 a slow movement is followed by a movement of a swifter pace. The final work on the set the Minuetto per l’amandorlino per mandolino solo (Minuet in E major for solo mandolin), MS106 is a rather uninspiring three movement affair.

To be candid these works although interesting and highly appealing are not candidates to become staples of the chamber repertoire and are unlikely to be taken up by the leading ensembles on the international stage. Notwithstanding the numerous four movement scores, I found many of the other works such as the three Duets for violin and cello; the twenty one Divertimenti carnevaleschi for two violins and cello; the substantial three Duets for violin and bassoon; the Sonata per Rovene per mandolino e chitarra and the Serenata per mandolino e chitarra contained surprises both in terms of layout, employment of instrumentation and musical content.

Generally, I was fascinated by how Paganini’s writing can sometimes display a certain vulgarity and the next minute I could be enchanted by his charm and warmth. I found it frequently difficult to forecast what Paganini would do next and this unpredictability is a characteristic that was highly pleasing.

Dynamic have employed some nineteen different players over the fifteen year span of these recordings. Violinists: Bruno Pignata the leader of the Quartetto Paganini performs on a large number of the scores; Stefan Milenkovich displays his undoubted prowess on disc 8 and the renowned international soloist and Paganini champion Salvatore Accardo plays on the Three Duets for violin and bassoon (CD 9). It is clear from these interpretations that the players relish the attractive writing. Throughout I was impressed by the matching of the players, their blend of ensemble and choice of pace. Overall finesse, eloquence and tonal beauty are not words that I would use to describe these performances although the playing is consistently characterful, and often glowing and delightful. I especially enjoyed the effervescent performances of the allegros of the quintets and quartets and was impressed that the momentum of the slow movements is never allowed to wane.

Generally the sound quality has been produced to a decent standard, clean and bright with just a slight lack of depth. However, on CD 9 I found the Three Duets for violin and bassoon to be rather too brightly lit and I had to resort to considerable adjustment of the line-out-level on my disc player. There is an interesting and well written essay in the accompanying booklet by Danilo Prefumo; yet I was left wanting more information on the actual scores.

These rarely encountered chamber music scores from the Genoese Maestro are certainly worthy of investigation.

-- Michael Cookson, MusicWeb International

Full details

CD 1: Complete Quartets for strings and guitar, Vol. 1 [67:16]
Quartet No. 1 in A minor, Op.4/1, MS28 [21:41]
Quartet No. 9 in D major, MS36 [21:42]
Quartet No. 10 in A major, MS37 [23:53]

CD 2: Complete Quartets for strings and guitar, Vol. 2 [63:47]
Quartet No. 11 in B major, MS38 [20:28]
Quartet No. 12 in A minor, MS39 [23:33]
Quartet No. 13 in F major, MS40 (1819) [19:46]

CD 3: Complete Quartets for strings and guitar, Vol. 3 [68:53]
Quartet No. 3 in A major, Op. 4/3, MS30 [21:21]
Quartet No. 7 in E major, MS34 [26:04]
Quartet No. 14 in A major, MS41 [21:27]

CD 4: Complete Quartets for strings and guitar, Vol. 4 [64:03]
Quartet No. 2 in C major, Op. 4/2, MS29 [18:56]
Quartet No. 8 in A major, MS35 [23:03]
Quartet No. 15 in A minor, MS42 [22:04]

CD 5: Complete Quartets for strings and guitar, Vol. 5 [74:17]
Quartet No. 4 in D major, Op.5/1, MS31 [24:21]
Quartet No. 5 in D major, Op. 5/2, MS32 [24:20]
Quartet No. 6 in D minor, Op. 5/3, MS33 [25:36]

CD 6: Complete Trios for strings and guitar [65:29]
Serenata in C major for viola, cello and guitar, MS17 [15:10]
Terzetto Concertante in D major for viola, cello and guitar, MS114 [22:55]
Terzetto in D major for viola, cello and guitar, MS69 [20:12]
Terzetto in A minor for 2 violins and guitar, MS116 [03:03]
Serenata in F major for 2 violins and guitar, MS115 [04:09]

CD 7: Complete String Quartets, MS20 [64:55]
String Quartet No. 1 (c.1815) [19:02]
String Quartet No. 2 (c.1815) [23:00]
String Quartet No. 3 (c.1815) [22:53]

CD 8: Works for violin/s and cello [67:00]
In cor più non mi sento, theme and variations for two violins and cello, [08:15]
Three Duets for violin and cello:
Duet No.1 [09:13]
Duet No.2 [09:49]
Duet No.3 [09:21]
21 Divertimenti carnevaleschi for 2 violins and cello, MS4 [30:22]

CD 9: Three Duets for violin and bassoon, MS130 [50:08]
Duet No.1 [16:57]
Duet No.2 [16:52]
Duet No.3 [16:19]

CD 10: Quattro Notturni a quartetto, MS15 and other works [57:07]
Quattro Notturni a quartetto for two violins, viola and cello, MS15: Notturno No. 1, [06:28]
Notturno No. 2, [07:11]
Notturno No. 3, [04:14]
Notturno No. 4, [03:31]
Quartet No. 7 in E major for two violins, viola and cello, MS34
(transcription from quartet for strings and guitar) [22:49]
Sonata per Rovene per mandolino e chitarra, MS14 [02:56]
Serenata per mandolino e chitarra, MS16 [02:53]
Minuetto per l’amandorlino per mandolino solo, MS106 [07:05]

Performers Quartetto Paganini: Bruno Pignata (violin), Lorenzo Lugli (viola), Paola Mosca (cello), Giuseppe Briasco (guitar) (CDs 1-3). Quartetto Paganini: Bruno Pignata (violin), Ernest Braucher (viola), Riccardo Agosti (cello), Giuseppe Briasco (guitar) (CDs 4 & 5). Dora Bratchkova (violin), Götz Hartmann (violin), Antonello Farulli (viola), Andrea Noferini (cello), Adriano Sebastiani (guitar) (CD 6). Quartetto d’archi Paganini: Bruno Pignata (violin), Gian Luca Allocco (violin), Ernest Braucher (viola), Dario De Stefano (cello) (CD 7). Stefan Milenkovich (violin), Riccardo Agosti (cello), Pier Domenico Sommati (second violin) (CD 8). Salvatore Accardo (violin), Claudio Gonella (bassoon) (CD 9). Quartetto d’archi Paganini: Bruno Pignata (violin), Gian Luca Allocco (violin), Ernest Braucher (viola), Dario De Stefano (cello), Dorina Frati (Genoese mandolin), Piera Dadomo (guitar) (CD 10).

Shostakovich: 24 Preludes and Fugues

Eccles, J.: Mad Lover (The) / Bononcini, G.: Barbara Ninfa i

Includes work(s) by Lou Harrison. Ensemble: Tammittam Percussion Ensemble. Conductor: Guido Facchin.

GALUPPI: Concerto a 4, Nos. 1-7

After Il Fortunato inganno and La Zingara, the Martina Franca Festival has revived another neglected masterpiece by Donizetti, Pietro il Grande o sia il Falegname di Livonia. First staged in Venice in 1819, this work met with good success and was performed until 1827. The silence that followed is justifiable only on account of the enormous success reaped by works such as Elisir d’amore, Don Pasquale and Lucia di Lammermoor, for in Pietro il Grande there is no lack of inspiration and Donizetti’s creativity is, quite the opposite, generous and surprising.

Italian/English libretto included.

R E V I E W S:

" Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819. It was the fourth of Donizetti’s operas to be performed during his life, and the first of Donizetti’s to achieve any kind of performance history...
When I was first asked to review this recording, I expected a very Rossinian opera buffo. It is, to a large extent, but I was still able to see tiny glimpses of Donizetti’s own personality come shining through. An example is the lyric pathos of Annetta’s “veder l’amato bene” in the finale to Act I. There are other lovely numbers, including the duet for Pietro and the Magistrate: “Ser Decuppia siete voi”, definitely a forerunner of the delightful “Cheti, cheti” in Don Pasquale and Carlo’s aria “Il dolce nome e tenero”....
Martina Franca often uses unfamiliar, but talented young singers, as is the case here. I particularly enjoyed the Madame Fritz of Rosa Anna Peraino, the Pietro of Vito Priante and the intentionally obnoxious Magistrate of Giulio Mastrototaro. But the entire cast contributes to the success of the performance...
This is a recording I can recommend not only to Donizetti completists, but to all who appreciate Italian opera."
- Tom Kaufman, Opera Today

BELLINI: Norma (1831 Edition for 2 Sopranos)

Violin Recital: Ricci, Ruggiero - BACH, J.S. / MATTHESON / P

This is not the first time this 1735 opera has been recorded. Erato (remember them?) released a 1986 performance under Claudio Scimone that was quite good but in the long run can't compare dramatically with this live performance from France in November, 2001. In the notes accompanying the earlier release, we learn that only the second and third acts survive and that the first was written by one or more other composers--a sort of patchwork. Scimone, therefore, only presents the acts he believes are by Vivaldi, as evidenced by the autograph score in Turin. Jean-Claude Malgoire claims to have located two of the missing Act 1 arias, takes the music of some others from various Vivaldi operas (and re-sets the words of the Catone libretto, which has been found in Bologna, to that music), and has composed the recitatives "drawing his inspiration from existing Vivaldi compositions." Scholarship aside, the result gives us lots of terrific music, scored for strings and continuo, but with the occasional addition of two trumpets and two horns (in the extant Vivaldi), and oboes and recorders in the Act 1 reconstruction.

If the truth be known, the plot stands very well with just the last two acts; the libretto of the first is exposition. The opera concerns the Republican Cato's (tenor) refusal to give in to Caesar (male soprano), who has killed Pompey and taken over Rome. Pompey's widow Emilia (soprano) actually is the piece's villain--her hatred for Caesar keeps everyone's feelings toward him inflamed and she tries to manipulate his death. Cato's daughter Marzia (soprano) loves Caesar, but he (Cato) wants her to marry Arbace, his ally. This is a real problem. And Caesar's ally, Fulvio, loves Emilia, although he may just be covering his bets--a confusing bonus. Metastasio, the librettist, wanted Cato to die onstage in his daughter's arms but opted for him to die off stage and have Marzia report it. Even that was too strong for 18th century Verona, so he recast it with a happy ending: after Cato's army is defeated Caesar spares Cato in order to gain Marzia's love, Emilia leaves in disgrace after swearing revenge, Arbace is unhappy but realizes that the outcome is good for the country, and peace returns. The final chorus is suitably unconvincing, and I bet Vivaldi knew it. He scored the soprano Caesar's vocal line so low that there's no real enthusiasm; the music is like an editorial commentary.

Up to then, however, the characters' feelings are ablaze and realistic, with impressive arias and huge drama in the recitatives. Malgoire is particularly good in the dramatic, realistic pacing of the recitatives, but the arias also are well accompanied, and if Malgoire is responsible for the embellishments in the da capo sections of arias, then he is to be further congratulated. His period-instrument band plays beautifully, with the trumpets braying nobly, the strings smooth or cutting as the text requires, and the ensemble work first class.


The singing doesn't let us down either: Simon Edwards' Cato is an aristocratic ruler, but he's capable of great fury against poor Marzia, with whom he becomes enraged for her love of Caesar in both Acts 1 and 2. He handles the role's coloratura well. Marzia is a sappy ingénue with pretty, lachrymose arias, though at least the one in the last act is energetic (and her interjections of "O Dio! Pieta!" in Cato's last Rage Aria are enchanting in their sincerity).


Emilia has two furious arias and wicked recitatives, and Veronica Cangemi, in this all-over-the-place-vocally-and-dramatically role, makes you sit up and listen to her scorn. She's spectacular. Sympathetic Caesar, sung by male soprano Jacek Laszczkowski, is expressive and has the difficult music--trills, leaps, pianissimos, high B-flats--fully in hand. Male alto Philippe Jaroussky is good in the nowhere role of Arbace, and the same can be said about Diana Bertini as Fulvio, an even weaker character. If you love Baroque opera, or may want to, this is top-of-the-line. And whether or not Malgoire is right about his reconstruction of Act 1, it's nice to have another 50-something minutes of well-performed Vivaldi to savor.
--Robert Levine, ClassicsToday.com

This selection includes a book and a poster.

Paganini Played On Paganini's Violin, Vol. 3

BALSAMINO: Novellette a 6 voci / MONTEVERDI: Combattimento d

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

Also available on standard DVD

Enrico di Borgogna is a melodramma per musica that was premiered in Venice in 1818, marking Donizetti’s stage debut. The plot of this rare opera follows a rather traditional scheme: Enrico wants to defeat the son of the villain who usurped his father’s throne and is about to marry his beloved Elisa. Fortunately, he succeeds in stopping the marriage and regaining his inheritance. This release is a world premiere video recording of the 2018 Donizetti Opera festival performance, which received great reviews for its brilliant staging. Director Silvia Paoli uses a “theatre within the theatre” approach which gives way to moments of sheer humor and amusement: as the curtain opens, the public is brought back to the time of the opera premiere. Played on period instruments by Academia Montis Regalis and conducted by repertoire specialist Alessandro De Marchi, this opera features two prima donnas like Sonia Ganassi and Anna Bonitatibus in the main roles. Extra content: interviews with Conductor Alessandro De Marchi, Sonia Ganassi and Anna Bonitatibus. “This was…a genuinely funny presentation, which had the audience laughing out loud. Everything was treated as a source of fun, from the narrative, and its mix of characters through the theatrical conventions of the time, even poking fun at the singers themselves. It was all staged in a blaze of color, fast-moving action, fabulous costumes and cleverly managed extraneous silliness.” (Operawire) [Anna Bonitatibus] displayed a burnished, deep timbre, sparkling coloratura and wonderful phrasing, confirming her status as the most interesting mezzo of her generation.” (Bachtrack.com) “Sonia Ganassi…has a strong, dynamically versatile and flexible voice which she is able to manage intelligently and with skill. . “(Operawire)

-----

REVIEW:

A love story with the usual intrigues is at center of the plot of Donizetti’s rediscovered opera Enrico di Borgogna. A lively staging, tight tempi as well as glowing colors from the orchestra, a very good choir and good soloists make this a valuable production.

– Pizzicato

PIANO TRIOS

On this wonderful recording of Flute Concertos are rare transcriptions for flute by C. Furstenau and F. Devienne. Flautist Mario Carbotta is a Viotti specialist and has recorded his full works for flute and piano.

This CD features rare but beautiful repertoire from Franck.

BELLINI, V.: Operas (Complete)