Stradella: La Doriclea
Il Pomo d’Oro, Andrea De Carlo
Arcana A454. 3CDs. 3h7’21
You would be forgiven for not being all that familiar with the music of Alessandro Stradella (1643–1682) or, at least, not in its original form. Despite fame during his lifetime, Stradella’s reputation didn’t endure much beyond his murder in Genoa. This following an earlier assassination attempt in Turin, the result of a rather dangerous love life. Perhaps it is no surprise that there are as many operas written about him, as he wrote himself. He is perhaps best known today as the posthumous provider of music for Handel to pinch, notably in Israel in Egypt. But he is also justifiably held to be responsible for many musical innovations in Baroque music, not least as the instigator of the Concerto Grosso and in the development of new forms, including what became the ubiquitous da capo Aria form of 18th-century opera. Continue reading
Ambronay Editions, AMY308. 60’43
Works by Albertini, Marini, Castaldi, Pandolfi Mealli, Stradella,
I have written before of the excellent work that eeemerging and the Cultural Centre Ambronay do to support young musicians. One such is the arrangement by which the top two ensembles in each of the eeemerging rounds are offered a recording through the Collection Jeunes Ensembles of Ambronay Editions. A recent example is this CD, Assassins, Assassinations, the debut recording of the two-person ensemble Repicco, (violinist Kinga Ujszàszi and Jadran Duncumb, theorbo). The rather grizzly link between the Italian Baroque composers represented in the recording is that they were all either murdered or murderers. This is a genre of recording that, I trust, has a limited range, particularly when it comes to present days composers. It certainly says something about political and social life in Italy during the period known as the ‘Iron century’, a time dominated by powerful families and warring cities. Continue reading
Spitalfields Music: The English Concert
Christ Church Spitalfields. 9 December 2015
Dandrieu: Trio Sonata Op 1/2; Charpentier: Magnificat H73; Charpentier: In nativitatem Domini nostri Jesu Christi canticum; Stradella: Cantata per il Santissimo Natale ‘Ah! Troppo è ver’.
Following their paired-down concert at the Sam Wanamaker Playhouse a few days earlier (reviewed here), The English Concert transferred their magic to the magnificent East London church of Christ Church Spitalfields for one of the Spitalfields Winter Festival showpiece concerts. Contrasting the seasonal music of France and Italy, the music spanned the period from the mid-17th to the early 18th century.
The evening started with Jean-François Dandrieu, a composer well-known to organists for his lively Noël variations, but otherwise overlooked in favour of the likes of Rameau and Couperin. The delightful Trio Sonata in D from his 1706 Livres de Sonates en trio demonstrated Italian influence, not least in its use of counterpoint and the Corellian walking bass in the opening Largo, and its vivacious concluding Presto. A true trio, with Joseph Crouch’s cello (or, in this case, perhaps more correctly Continue reading