Biagio Marini - Curiose & Moderne Inventioni

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 This disc takes us to the first half of the 17th century, when the violin had recently acquired its modern form with the Amatis and other makers, and composers were starting to develop a distinctive idiom for the new instrument. Perhaps the most outstanding of these early violin composers was Biagio Marini (c.1587-1663) of Brescia, a violinist at San Marco in Venice who played under Monteverdi's direction.

The compositions on this disc are from three different Marini publications: opus 3, 8, and 22 (his last published collection). They fall under three types: pieces for solo violin and continuo, pieces for two violins and continuo (what would later be called trio sonatas), and dances and other short pieces for string quartet (!) with continuo. Among the highlights are the Opus 8 violin sonatas (tracks 6 and 14), attempts to translate vocal monody (the expressive recitative of early opera) to instrumental terms; ROMANESCA (track 7), based on a ground bass shared with "Greensleeves"; the 12-minute PASS'E MEZO (track 15), a masterful variations piece; and especially the poignant PASSACAGLIO (track 8), which Manze qualifies as a "masterpiece". Everywhere, Marini's harmonic boldness and a distinctive, bittersweet lyricism are in evidence.

Early baroque music often looks plain on the page but yields expressive riches through an imaginative interpretation; violinist Andrew Manze and his colleagues (including John Toll on harpsichord and Nigel North on chitarrone, a kind of baroque guitar) illustrate this beautifully. Their commitment to giving the pieces coherent shape through dynamics, articulation, pacing, and expression is clear. This is especially relevant for the solo violin sonatas, which on the page look like rhapsodic splotches of sound but emerge here as arresting, highly expressive utterances. Manze's flamboyant style is appropriate to the solo pieces, but his expressive range is wide: compare his lovely, silky tone in the beginning of the ROMANESCA with the rapid, prickly divisions at the end of the piece. I have only a few reservations. The PASSACAGLIO is performed in an appropriately grave and muted manner, but I could have wished for a little more embellishment. I regretted the absence of more selections from opus 22, perhaps the culmination of Marini's work. And I found myself hungering for one or two more longer compositions.

This disc is a fine portrait of a fascinating early baroque figure. To start exploring the instrumental side of the 17th-century STIL MODERNO, look no further.

 M. De Sapio

 contents:


1. Sinfonia Sesto Tuono, for chamber instruments & continuo, Op. 22
2. Balletto Terzo, for 3-4 instruments & continuo, Op. 22/3
3. Corrente Seconda, for chamber instruments & continuo, Op. 22/10
4. Zarabanda Terza, for chamber instruments & continuo, Op. 22
5. Balletto Quarto Allemano, for 3-4 instruments & continuo, Op. 22/4
6. Sonata for violin solo ("Per sonar con due corde"), Op. 8/16
7. La Romanesca, for violin & continuo, Op. 3
8. Passacaglia à 4, for chamber instruments & continuo Op. 22
9. Sinfonia Primo Tuono, for chamber instruments & continuo, Op. 22
10. Zarabanda Quarta, for chamber instruments & continuo Op. 22
11. Sonata Basso e Violino, for chamber instruments & continuo, Op. 22
12. Sinfonia Terzo Tuono, for chamber instruments & continuo, Op. 22
13. Sonata Prima A doi Violino Op 8
14. Sonata Terza, Variata for violin solo Op 8
15. Pass'e mezo in 10 Parti Doi Violini e chitarone Op 8
16. Balletto Secondo, for 3-4 instruments & continuo, Op. 22/2


Romanesca

Andrew Manze, violin
Nigel North, chitarrone & chitarra alla spagnola
John Toll, harpsichord & organ
Carolin Balding, violin
Jan Schlapp, viola
David Watkin, cello