Il Cembalo di Partenope

Il Cembalo di Partenope: ‘A Renaissance harpsichord tale’
Catalina Vicens
Carpe Diem Records CD-16312. 66’35

The world’s oldest playable harpsichord (Naples, 1525)

Vicens CD.JPGHarpsichordist Catalina Vicens’ new CD ticks a lot of boxes. Firstly, it is recorded on the world’s oldest playable harpsichord, built in Naples c1525, and now housed in the National Music Museum of Vermillion, South Dakota, USA, where it has been recently restored. Secondly, her programme of 24 pieces represents the wide range of musical styles of the period of the instrument, played with a compelling sense of musical and period style. And, thirdly, it comes with the bonus of an imaginative story (downloadable as an audiobook) by Catalina Vicens, based on the instrument and “inspired by music, history and legends”. Continue reading

The Grand Tour: Naples

The Grand Tour: Naples
La Serenissima, Tabea Debus, Vladimir Waltham, Adrian Chandler
St John’s, Smith Square. 18 January 2017

Music by: A Scarlatti, Durante, Porpora, Sarro, Leo

The penultimate concert in La Serenissima’s current series of ‘Grand Tour’ concerts at St John’s, Smith Square focussed on the music of Naples. A complex history of multiple occupations from the founding Greeks through to the 16th century Spanish (with brief Austrian and French incursions in the early 18th century) made it one of the most cosmopolitan (and the second largest) of all European cities in the later 17th and early 18th centuries. As such, it attracted artists and musicians of extraordinary ability.

Alessandro Scarlatti (pictured) was one of the founders of the Naples opera scene. He first moved there in 1684, aged around 24, as Maestro di Cappella to the Spanish Viceroy, and spent much of his following life there. All the other composers in La Serenissima’s concert were influenced by him. He left little instrumental music alongside his operas, but one such was the Sinfonia di Concerto Grosso II in D (for recorder, trumpet, strings & continuo) that opened this concert. It can be a surprise to those not used to period instruments to realise that the trumpet and recorder can be combined as fellow solo instruments, as Bach demonstrated so well. Scarlatti was less adventurous in his combining of these instruments in this concerto, with the two instruments generally kept apart, and the two melodic Adagio movements only using the recorder. Continue reading