Neapolitan Concertos for Various Instruments
View record and artist detailsRecord and Artist Details
Composer or Director: Nicola (Antonio) Porpora, Francesco Mancini, (Pietro) Alessandro (Gaspare) Scarlatti, Niccolò Fiorenza, Giovanni Pergolesi
Genre:
Orchestral
Label: Glossa
Magazine Review Date: 05/2018
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: GCD923106

Tracks:
Composition | Artist Credit |
---|---|
Sinfonia for cello, violins and basso continuo |
Nicola (Antonio) Porpora, Composer
Josetxu Obregón, Conductor La Ritirata Nicola (Antonio) Porpora, Composer |
Concertos for Flute and Strings, Movement: Sonata No 14 in G minor |
Francesco Mancini, Composer
Francesco Mancini, Composer Josetxu Obregón, Conductor La Ritirata |
Concerto for 2 Harpsichords and Strings |
Giovanni Pergolesi, Composer
Giovanni Pergolesi, Composer Josetxu Obregón, Conductor La Ritirata |
Concerto for cello, 2 violins and basso continuo |
Niccolò Fiorenza, Composer
Josetxu Obregón, Conductor La Ritirata Niccolò Fiorenza, Composer |
Concerto for recorder, 2 violins, cello and basso continuo |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Josetxu Obregón, Conductor La Ritirata |
Concerto for Violin and strings |
Niccolò Fiorenza, Composer
Josetxu Obregón, Conductor La Ritirata Niccolò Fiorenza, Composer |
Author: Charlotte Gardner
All of which means that a conservatory theme offers rich pickings for any ensemble wishing to showcase the brilliance and variety of the Neapolitan musical Baroque, and that’s certainly what you hear from this concerto assortment from La Ritirata and Josetxu Obregón. Indeed, variety abounds across its various combinations of solo strings and recorders, and mix of contrapuntal and galant writing.
The instruments on these beautifully shaped, gently buoyant readings are a lovely-sounding bunch, so it’s a shame that they are not identified in the booklet notes. So I went and asked. The huskily soft cello of Obregón’s which first glides into play for the disc’s opener – Nicola Popora’s Sinfonia in C for solo cello, violins and basso continuo – is a 1740 Klotz. The airily mellow recorder with which Tamar Lalo so poetically takes the lead for the pair of recorder and two-violin concertos by Francesco Mancini and Alessandro Scarlatti is an alto after Bressan. And the sweet-toned violin with which Hiro Kurosaki dashes off the virtuosities of the concluding ceremonial-feeling concerto by Nicola Fiorenza (who allegedly threatened his pupils with a sword during classes), is a 1670 Rogeri.
Perhaps my favourite instruments-plus-concerto choice of all, though, is Pergolesi’s Concerto for two harpsichords and strings, where a colourfully sonorous Flemish model has been paired with a rich, tart German one, because the results are possibly the most ravishing textural combinations on the disc; particularly when the two properly overlay in the central Adagio. Beautiful stuff.
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