Il Fasolo?

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Here the European period-instrument ensemble Le Poème Harmonique offers a program devoted to another of those arguably unjustly-neglected composers who occasionally turn up on concerts and on disc--and in our reviews. This time it's the very obscure, early-17th-century Italian guitarist/composer known today only by his pseudonym Il Fasolo (the bean). In the liner notes Jean-François Lattarico warns that this Il Fasolo should not necessarily be confused with Giovanni Battista Fasolo or Il Fasolo-Manelli (two other composer/musicians active around the same time) regardless of evidence that both confirms and denies Il Fasolo's relationship to each--and hence the question mark in the program's title. Surely a fascinating musicological mystery!

--John Greene, ClassicsToday.com

contents:


1 - Bergamasca : La Barchetta passaggiera
2 - Lamento di Madama Lucia, con la riposta di Cola
3 - Chi non sà come Amor
4 - Son ruinato, appassionato
5 - Canzonetta : Sguardo lusinghiero
6 - Madrigale : O dolorosa sorte
7 - Jacarà : Aria alla napolitana
8-16 Serenata in lingua lombarda che fa Madonna Gola a Messir Carnevale
17 - Ciaconna : Acceso mio core

Le Poème Harmonique
dir. Vincent Dumestre

W.Boyce - Solomon

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In 1743 William Boyce wrote music for the play 'Solomon' by Edward Moore. The work was frequently performed, but being judged mildly rude*, was seldom performed after about 1800. One song however, 'Softly Rise, O Southern Breeze' remained popular for another fifty years. In 1762, after a performance of Solomom, the music critic John Potter wrote "......a fine piece of composition! It has a number of beautiful strokes of genius, it is fine, it is elegant and sublime....how delicate the airs in it, how charming the melody! Can anything be more so? Really it is almost impossible."

She - Bronwen Mills, soprano,
He - Howard Crook, tenor
The Parley of Instruments
Choir & Orchestra
dir. Roy Goodman

* I wanted to understand what a "mildly rude" work was like by XVIII century standards so I searched for Moore text. I found it at the University of Virgina Library along with some other intesting works (Mainly poems & fables) . Or you can download it here (26Kb) in RTF format.

Angelo Berardi - Sinfonie Opera VII

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contents:


Canzone I "Chi la fa l'aspetti"
Canzone " Il mondo va in giro"
Canzone III "Dal Moto hò vita"
Canzone IV "Nell'incostanza fedel sarò"
Canzone V "Ostinato è il mio pensiero"
Canzone VI "Capriccio per camera"


Sergio Ciomei (clavicembalo - dir)
Margret Koll (arpa)
Vanni Moretto (contrabbasso - dir)
Giangiacomo Pinardi (tiorba, chitarra)
Mauro Valli (violoncello)

Pancrace Royer - Pieces de Clavecin 1746

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Rousset’s first go at Royer’s Pièces (l’Oiseau-Lyre 436 127-2) was taped in Aug. 1991, used a 1751 Henri Hemsch, and won the 1993 Diapason d’or. It is a much sought-after item. Rousset's Feb. 2007 recording uses an attractive Goujon-Swanen instrument, ca. 1749-84. This time Rousset stays entirely within Royer’s Premier Livre (if there were subsequent books, they are lost to us) and doesn’t program La Chasse de Zaïde, a singleton which may not be Royer’s.

Fifteen-plus years later, Rousset seems less intent on demonstrating muscle and virtuosity. The emphasis here is on darkness and mystery. This shift is most audible in “la petite Reprise” of the affecting Les tendres Sentiments, the harmonies of which climb chromatically. Rousset now lingers a little longer on the twists and cadential progressions of L’Incertaine and L’Aimable. Overall, the fast pieces are about the same duration. The slower ones have become slightly longer. The newer recording is less dry, and whether it’s the instrument or player, Rousset’s 1991 staccatos are more precise (for example, snapped 16ths after dotted eighths). Le Vertigo and La Marche des Scythes, the Livre’s most theatrical and reckless, evoke slightly less passion on the newer recording. Perhaps Rousset is suffering from battle fatigue, witness Le Vertigo’s Vivaldian chord crashing. I hear greater introspection in its few points of repose. While I value both of Rousset’s explorations, I see myself spinning the older release more often. (Complete review here)

Camilla de Rossi - Il Sacrifizio di Abramo

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Nothing is known of her life except that ‘Romana’ appears on the title-pages of her manuscripts, indicating Roman origin.
She wrote four oratorios for solo voices and orchestra, which were performed in the Vienna court chapel between 1707 and 1710. In style and form they are similar to the oratorios of Alessandro Scarlatti. A cantata also survives.
Her first known work, Santa Beatrice d’Este, was commissioned by Emperor Joseph I.
She often uses particular instruments for dramatic effect or characterization: trumpets represent the villainous warrior in Santa Beatrice d’Este, the archlute represents the innocence of S.Alessio in Sant’Alessio, and chalumeaux(*), only a year after their first orchestral use in Vienna, represent the peaceful dream of Abramo in Il sacrifizio di Abramo.
According to the title-page of the manuscript, Rossi wrote the text as well as the music for Il figliuol prodigo.

Angiolo, Sara, Susanne Ryden (Soprano)
Isacco, Ralf Popken (Alto)
Abramo, Jan Stromberg (Tenor)


Weser-Renaissance
dir. Manfred Cordes

(*)Accostatevi a queste pupille




Strali, fulmini

Berger Poète - Suites et Sonates pour Flûte et Musette

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contents:


Pierre Danican Philidor
Suite for flute & continuo No. 5 in E minor

Nicolas Chédeville
Sonata for musette & continuo in G minor (attrib. to Vivaldi, Op. 13/6)

Jacques Hotteterre
Suite for flute & continuo No. 2 in C minor (Deuxième livre)

Jean-Féry Rebel
Musette for orchestra in D major

Joseph Bodin de Boismortier
Sonata a 4 for 3 flutes & continuo in A minor

François Couperin
Le Rossignol-en-amour et Double, for harpsichord (Pièces de clavecin, III, 14e ordre)

Nicolas Chédeville
Suite de duos, for musette & vielle (Plainte d'Iphise, de Michel Pignolet de Montéclair)
Suite de duos, for musette & vielle (Les Bergeries de Mr Couprin)
Suite de duos, for musette & vielle (Air de Mr de Mondonville)
Philippe Dugué
Trio Sonata for musette, hurdy-gurdy & continuo in C major

Le Musiciens de Saint-Julien
François Lazarevitch