Roman / Paradiso - 12 Keyboard Sons 1-7 - SUPER-AUDIO CD [Super Audio CD (SACD)]
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Before coming to Sweden, the Italian-born harpsichordist Anna Paradiso knew little about Johan Helmich Roman, often called 'the father of Swedish music'. Here she soon realized that if Roman's music was Swedish, it was also Italian - and specifically Neapolitan, her own part of Italy The restlessness of the harmonic idiom, the continuous shifts from one melodic gesture to another, the absence of long and balanced phrases, the theatrical character. Roman had spent five years in London as a young man before returning to Stockholm to take up his duties at the Royal Court. Fourteen years later, 1735-37, he was once more able to sample the newest trends in music in person, during a two-year sabbatical spent travelling across Europe, with Ischia, near Naples, as his goal. It would seem that many, or most, of the twelve keyboard sonatas were composed around this time or later. Why he wrote them is not known, however, nor what instrument they were intended for. In 1746, shortly after he had retired, Roman assembled the pieces, each consisting of between three and seven movements, in a single manuscript. They remained unpublished, however, and as Roman did not provide any titles to them, they have since been referred to both as 'suites' and 'sonatas'. Whatever the tag, this fascinating collection is a testimony of a period of great stylistic diversity and change, as observed by a composer who, although geographically relegated to the outskirts of Europe, remained wide-open to new developments. On this, the first of two discs, Anna Paradiso emphasizes this aspect of the composer, performing the first seven sonatas of the set on three different instruments - a French and an Italian harpsichord and a copy of a clavichord built in Sweden in 1742 - with well-judged ornamentations and use of rubato.
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- GenreClassicalDescriptionBefore coming to Sweden, the Italian-born harpsichordist Anna Paradiso knew little about Johan Helmich Roman, often called 'the father of Swedish music'. Here she soon realized that if Roman's music was Swedish, it was also Italian - and specifically Neapolitan, her own part of Italy The restlessness of the harmonic idiom, the continuous shifts from one melodic gesture to another, the absence of long and balanced phrases, the theatrical character. Roman had spent five years in London as a young man before returning to Stockholm to take up his duties at the Royal Court. Fourteen years later, 1735-37, he was once more able to sample the newest trends in music in person, during a two-year sabbatical spent travelling across Europe, with Ischia, near Naples, as his goal. It would seem that many, or most, of the twelve keyboard sonatas were composed around this time or later. Why he wrote them is not known, however, nor what instrument they were intended for. In 1746, shortly after he had retired, Roman assembled the pieces, each consisting of between three and seven movements, in a single manuscript. They remained unpublished, however, and as Roman did not provide any titles to them, they have since been referred to both as 'suites' and 'sonatas'. Whatever the tag, this fascinating collection is a testimony of a period of great stylistic diversity and change, as observed by a composer who, although geographically relegated to the outskirts of Europe, remained wide-open to new developments. On this, the first of two discs, Anna Paradiso emphasizes this aspect of the composer, performing the first seven sonatas of the set on three different instruments - a French and an Italian harpsichord and a copy of a clavichord built in Sweden in 1742 - with well-judged ornamentations and use of rubato.ArtistROMAN / PARADISOTitle12 Keyboard Sons 1-7FormatSuper Audio CD (SACD)LabelBis
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Before coming to Sweden, the Italian-born harpsichordist Anna Paradiso knew little about Johan Helmich Roman, often called 'the father of Swedish music'. Here she soon realized that if Roman's music was Swedish, it was also Italian - and specifically Neapolitan, her own part of Italy The restlessness of the harmonic idiom, the continuous shifts from one melodic gesture to another, the absence of long and balanced phrases, the theatrical character. Roman had spent five years in London as a young man before returning to Stockholm to take up his duties at the Royal Court. Fourteen years later, 1735-37, he was once more able to sample the newest trends in music in person, during a two-year sabbatical spent travelling across Europe, with Ischia, near Naples, as his goal. It would seem that many, or most, of the twelve keyboard sonatas were composed around this time or later. Why he wrote them is not known, however, nor what instrument they were intended for. In 1746, shortly after he had retired, Roman assembled the pieces, each consisting of between three and seven movements, in a single manuscript. They remained unpublished, however, and as Roman did not provide any titles to them, they have since been referred to both as 'suites' and 'sonatas'. Whatever the tag, this fascinating collection is a testimony of a period of great stylistic diversity and change, as observed by a composer who, although geographically relegated to the outskirts of Europe, remained wide-open to new developments. On this, the first of two discs, Anna Paradiso emphasizes this aspect of the composer, performing the first seven sonatas of the set on three different instruments - a French and an Italian harpsichord and a copy of a clavichord built in Sweden in 1742 - with well-judged ornamentations and use of rubato.
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Before coming to Sweden, the Italian-born harpsichordist Anna Paradiso knew little about Johan Helmich Roman, often called Inchthe father of Swedish musicInch. Here she soon realized that if Roman's music was Swedish, it was also Italian and specifically Neapolitan. Roman's collection of Twelve Keyboard Sonatas was preserved in a manuscript assembled around 1748, but had most likely been composed in the course of the two decades before that. Consisting of between three and seven movements, the pieces have been referred to both as 'suites' and 'sonatas'. Whatever the tag, the collection is a fascinating testimony of a period of great stylistic diversity and change, as observed by a composer who, although geographically relegated to the outskirts of Europe, remained wide-open to new developments. In these recordings, Anna Paradiso emphasizes this aspect, performing the sonatas on three different instruments, a French and an Italian harpsichord and a copy of a Swedish clavichord from 1742 with well-judged ornamentations and use of rubato. That hope is here fulfilled, with the addition of an earlier keyboard sonata by Roman, as well as one by his Swedish contemporary Johan Agrell.
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Roman,J. / Laurin,Dan / Paradiso Musicale - J.h. Roman The 12 Flute Sonatas Nos. 6-12 [SUPER-AUDIO CD] Hybrid SACD date 07/08/2016
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In Stockholm during Johan HelmichRoman's lifetime, the recorder wasthe most common wind instrument,used throughout the social spectrum- including the Royal musicestablishment. The transverse flute, however, wasgenerally the preserve of the nobilityand bourgeoisie. That hasn't stopped the celebratedrecorder player Dan Laurin from takingup his countryman's sonatas on his owninstrument. With his fellow musicians in ParadisoMusicale, Laurin opts for a justifiablyItalianate slant - providing great varietyin realizations characterized by bold andstriking harmonization.
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