Again in January, three good mates, violinist Susanna Ogata, cellist Man Fishman and harpsichordist (and common keyboard musician) Ian Watson, calling themselves the Boston Classical Trio, recorded numerous 17th-century works from Italy, Austria and Germany within the stunning Salem Athenæum. Baroque afficionados will revel within the collective aplomb on bona fide baroque strings and a contemporary harpsichord replica of a French baroque instrument by Medford’s extensively revered harpsichord maker Allan Winkler represented within the ensuing stream.
Introductory remarks by the articulate Fishman embrace a number of salacious tidbits. The colourful lifetime of Alessandro Stradella (1643-1682) , as an example, ended abruptly at age 38, when a nobleman had him assassinated for an affair 5 years after an almost profitable try. Fishman additionally highlighted some compositional firsts within the repertoire chosen, akin to stile moderno and evocative need.
The feedback concluded, the music begins with Sonata Seconda a Soprano Solo by the Venetian composer Dario Castello (1602-1631), during which the soprano voice could also be variously undertaken by violin or flute; it contains assorted tempi in 8 sections, in addition to refreshing phrasing and frequent main to minor mode transitions. Ogata, the assistant concertmaster of Handel and Hayden Society performs in quintessentially pure Baroque fashion on a 1772 instrument crafted by Joseph Klotz in Mittenwald. Fishman’s 1704 cello by David Tecchler of Rome, with its genuine heat tone supplies continuo steadiness. One may hear this sonata as a trio, or with simply violin and harpsichord. In experimenting with early sonata types, and sensuality, Castello foreshadowed musical fashion to come back.
A harbinger of spring got here to us within the Sonata for Violin in A Minor, the “Cucu,” by the Austrian Johann Heinrich Schmelzer (von Ehrenruef) (1620-1680). It focuses on the violin with its vibrant birdsong all through the primary motion, and onward, accompanied by quiet, supportive continuo in each the cello and harpsichord. The sunny and seemingly easy sonata challenges the violin, and right here Ogata shines.
Bolognese composer Domenico Gabrielli (1659-1690), himself a virtuoso cellist, was one of many first, if not the first within the Baroque period to give attention to the instrument—nicely earlier than Vivaldi and others, incomes himself the nickname, Minghino dal viulunzeel (Domenic of the Cello). Fishman’s ease and evident pleasure within the A Main cello sonata on his sonorous Tecchler instrument proves infectious. Within the quick and chromatic richercar, the interaction with Watson sonorously enchants.
Dieterich Buxtehude (1637-1707), the perfect recognized of the featured composers, wrote his Trio in A Minor (BuxWV 272) round 1670. Its two allegro chaconnes with an adagio sandwiched between, resonate greater than many interval items. Violin and harpsichord start, after which the cello enters with the primary theme initially. The preliminary motion continues vibrant and full of life; the second, the adagio, convey a sedate and dreamy affair. The closing allegro chaconne options dialog between the strings. Tight ensemble on this sonata displays the closeness of the threesome.
An completed violinist, Giovanni Antonio Pandolfi (1624-1687), was born in Tuscany in 1624, labored for a while in Austria and in the end died in Madrid in 1687. His 1660 Sonata for Violin and Continuo, Opus 3, quantity 2, “La Cesta” or “the basket,” was well-received in his lifetime. He additionally achieved notoriety for murdering a castrato named Giovanni Marquett. On this sonata he divides the continuo between the harpsichord and the cello. The violin half creates a pure soprano, albeit a bit shrill and difficult to play and listen to. A lot of the primary motion is a sequence of cadenzas in stylus fantasticus.
It’s a pleasure to listen to Watson execute Jan Pieterszoon Sweelinck’s Six Variations for Solo Cello on “Mein junges Leben hat ein Finish.” Sweelinck, the earliest of the featured composers (1562-1621) produced a free-flowing non-religious work right here, as variations (usually on hymns) had been accepted in his day. Understanding that these variations, in different occasions have been additionally scored for a big group of woodwind and brass plus percussion, harps and celeste, one can respect Watson’s nuance and creativeness by means of evoking these lacking voices.
Stradella’s full of life Trio Sonata in D Minor closes the stream with verve. The primary and final actions present contrapuntal magnificence and a chance, taken right here, for intimate collaboration.
All informed, the Athenæum setting, the beautiful devices, and the collaboration of three completed colleagues who clearly relish their musical togetherness, add as much as a real delight. Sit in your most comfy chair, holding the libation of your selection and luxuriate in!