Scarlatti / Invernizzi / Bagliano - Cantatas & Recorder Concertos - COMPACT DISCS [CD]
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Having worked with countless luminaries of early-music performance over the last three decades, Roberta Invernizzi has become renowned for a crystalline soprano and an unfailing dramatic sense in Baroque and pre-Baroque music, especially from her native Italy. Here she lends distinction to a unique collection of three cantatas and two concertos by the jewel in the crown of Baroque-era music from Naples, Alessandro Scarlatti. Bella dama di nome Santa and Ardo è ver per te d'amore are particularly brilliant examples of the cantatas written for solo voice and obbligato instrument - in this case the recorder. The violin is the instrument assigned to duet with Invernizzi in the intensely expressive Quella pace gradita, which in this case does not vie with the soprano - as it does with the recorder in the previous two Cantatas - but rather accompanies the voice. Like the cantatas, the two concertos here date from the turn of the 17th to the 18th centuries four-movement works of scintillating virtuosity, fully the equal of Vivaldi's better-known examples, but laid out like a brief sonata with a brief introduction to a well-worked fugue, followed by a songful slow movement and brilliant finale. Under the direction of it's founder, Stefano Bagliano, the Collegium Pro Musica has assembled a distinguished discography on Brilliant Classics which has attracted international praise. Their album of Quantz concertos (BC95386) was reviewed in Fanfare as 'very fine - technically accomplished, and both lively and characterful, without turning mannered.' Of their collection of chamber concertos by Vivaldi (BC94332), Musica dei donum commented 'imaginative and lively, dramatic when needed, but also have intimacy, whenever the music asks for it... The virtuosic solo passages are perfectly executed.'
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- GenreClassicalDescriptionHaving worked with countless luminaries of early-music performance over the last three decades, Roberta Invernizzi has become renowned for a crystalline soprano and an unfailing dramatic sense in Baroque and pre-Baroque music, especially from her native Italy. Here she lends distinction to a unique collection of three cantatas and two concertos by the jewel in the crown of Baroque-era music from Naples, Alessandro Scarlatti. Bella dama di nome Santa and Ardo è ver per te d'amore are particularly brilliant examples of the cantatas written for solo voice and obbligato instrument - in this case the recorder. The violin is the instrument assigned to duet with Invernizzi in the intensely expressive Quella pace gradita, which in this case does not vie with the soprano - as it does with the recorder in the previous two Cantatas - but rather accompanies the voice. Like the cantatas, the two concertos here date from the turn of the 17th to the 18th centuries four-movement works of scintillating virtuosity, fully the equal of Vivaldi's better-known examples, but laid out like a brief sonata with a brief introduction to a well-worked fugue, followed by a songful slow movement and brilliant finale. Under the direction of it's founder, Stefano Bagliano, the Collegium Pro Musica has assembled a distinguished discography on Brilliant Classics which has attracted international praise. Their album of Quantz concertos (BC95386) was reviewed in Fanfare as 'very fine - technically accomplished, and both lively and characterful, without turning mannered.' Of their collection of chamber concertos by Vivaldi (BC94332), Musica dei donum commented 'imaginative and lively, dramatic when needed, but also have intimacy, whenever the music asks for it... The virtuosic solo passages are perfectly executed.'ArtistSCARLATTI / INVERNIZZI / BAGLIANOTitleCantatas & Recorder ConcertosFormatCDLabelBrilliant Classics
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Giuseppe Corsi (c.1631/1691), known as Celani, was one of the most important composers of the Roman school active in the second half of the 17th century. Corsi's catalogue of works includes around 23 secular compositions including Cantatas for one voice and basso continuo. The protagonist of the cantata Dalle balze sicane is the mythological Enceladus who, having been plunged into the bowels of Mount Etna by the goddess Athena, invokes Jupiter to placate the outrage against him. The character's 'misfortunes' and 'sorrows' of love in Cruda legge del mio fato find analogies with those experienced by the composer. The first aria in this cantata is rich in complex enharmonics, greatly expanded and varied in the repeat, when the voice is engaged in difficult bravura passages. The cantata Abbandonato e solo begins with a veritable monologue from Roman emperor Nero, tormented by his past ghosts. The cantata on this album by Giacomo Antonio Perti (1661-1756), Pompe, voi che ascondete, although attributed to Corsi's favourite pupil, is in fact still of unproven authorship. It is possible that Giuseppe Corsi met Giovanni Battista Vitali (1632-1692). The two composers in 1685 took part in the famous dispute over parallel fifths in Arcangelo Corelli's Sonata Op.2 No.3. The bass of the violin family, of which Vitali was a virtuoso, was widespread thanks to the Este patronage of Duke Francesco I. In his cantatas, Corsi repeatedly insists on the B flat grave, a characteristic of violin bass tuning, and the numerous semiquaver passages are particularly agile on the violone, so it is not unlikely that the composer from Marsica had this instrument in mind. It is also for this reason that Corsi's compositions have been joined by some movements from the Partite sopra diverse sonatas for the violone by Vitali that are particularly pleasing.
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