A. Scarlatti: Cantatas & La Folia
View record and artist detailsRecord and Artist Details
Composer or Director: (Pietro) Alessandro (Gaspare) Scarlatti
Label: Hyperion
Magazine Review Date: 3/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: KA66254
Tracks:
| Composition | Artist Credit |
|---|---|
| Correa nel seno amato |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Lynne Dawson, Soprano Purcell Quartet |
| Già lusingato appieno |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Lynne Dawson, Soprano Purcell Quartet |
Composer or Director: (Pietro) Alessandro (Gaspare) Scarlatti
Label: Hyperion
Magazine Review Date: 3/1990
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: CDA66254
Tracks:
| Composition | Artist Credit |
|---|---|
| Correa nel seno amato |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Lynne Dawson, Soprano Purcell Quartet |
| Già lusingato appieno |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Lynne Dawson, Soprano Purcell Quartet |
Author:
To the gallery of recorded composers who wrote variations on La folia, the Purcell Quartet have added Alessandro Scarlatti, whose often startlingly original harpsichord couplets—30 of them, many with striking touches of chromaticism, culminating in arpeggiated harp effects—Robert Woolley executes in glorious fashion. It is hard to imagine a performance that could match his wonderfully disciplined yet witty virtuoso one.
Most of this disc, however, is devoted to two 'unfoliated' cantatas in which the Purcell Quartet are joined by the bewitching voice of Lynne Dawson. Correa nel seno amato is a pastoral cantata, three of whose arias—''Ombre opache'', ''Fresche brini'', and ''Onde belle''—make passing reference to natural phenomena. The sections of the sinfonia are sharply contrasted by the players, and the lyrical opening relatative is sensitively paced. Both singer and quartet capitalize on the chromatic inflexions and echoes in ''Idolo amato'', although the ''mournful murmurings'' in ''Onde belle'' might have been sung with more delicacy.
Gialusingato appieno is unusual for its textual references to an 'English hero' bidding farewell to his family as he goes into exile; according to Clifford Bartlett (author of the booklet note), this is James II. Among the highlights are the movements of collaboration between voice and strings, as in ''Cara sposa'' with its concertante violins, and ''Sento l'aura'' in which slow trills and echoes are made to sound like ''whispering breezes''. Just as in Correa nel seno amato, Dawson commands the listener's attention from the very first notes of recitative with her beautifully weighed projection of the text; as her accompanist, Woolley always provides what is needed.
Singer and players are clearly at ease with one another and I look forward to more fruits of their collaboration.'
Most of this disc, however, is devoted to two 'unfoliated' cantatas in which the Purcell Quartet are joined by the bewitching voice of Lynne Dawson. Correa nel seno amato is a pastoral cantata, three of whose arias—''Ombre opache'', ''Fresche brini'', and ''Onde belle''—make passing reference to natural phenomena. The sections of the sinfonia are sharply contrasted by the players, and the lyrical opening relatative is sensitively paced. Both singer and quartet capitalize on the chromatic inflexions and echoes in ''Idolo amato'', although the ''mournful murmurings'' in ''Onde belle'' might have been sung with more delicacy.
Gia
Singer and players are clearly at ease with one another and I look forward to more fruits of their collaboration.'
A. Scarlatti: Cantatas & La Folia
A. Scarlatti: Cantatas & La Folia
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