He ignored every rule of traditional composition in order to achieve the effect his music should have; the number of voices changes arbitrarily, parallel octaves and fifths abound, all according to the vigorous, elemental force of his inspiration.
The legendary Italian composer Giovanni Battista Pergolesi was born 300 years ago, in 1710. To mark the anniversary, Naïve re-issues three renowned recordings to feature his choral music, in a specially-priced box set, headed by the Gramophone award-winning version of his Stabat Mater by Rinaldo Alessandrini and Concerto Italiano, considered one of the best ever recorded…
Also featured in the bargain “3 for the price of 1” set are other short pieces by Pergolesi, plus more by Alessandro Scarlatti and Leonardo Leo.
Cinque Profeti is a little known Christmas cantata by Alessandro Scarlatti. It has a power and subtlety redolent of Handel coupled with touches of early Monteverdi. Sung here to great effect by the five soloists with sensitive instrumentalists, they play together to bring the gentle and subtle melodies - surely written to confer a sense of the special nature of the Christmas season - to life. It’s a recording which is sure to please. Opera was not performed in Rome for much of Alessandro Scarlatti's lifetime; that's why his vocal church music mostly comprised oratorios and cantatas, of which he wrote three for the Palazzo Apostolico. Only one survives: to a libretto by Silvio Stampiglia. Cinque Profeti takes the inventive form of a conversation between the five old testament prophets, Daniel, Ezekiel, Isaiah, Jeremiah and Abraham (the cinque profeti) about the birth of Christ – which was about to be celebrated on the occasion of the cantata’s first performance, in 1705 at the Papal Palace in Rome.
This release, helmed by prolific Ukrainian-British violinist Pavlo Beznosiuk, might better be titled Scarlatti-Avison; the original music is by Domenico Scarlatti, as arranged by British composer Charles Avison just a few years after the fact. The eighteenth century was a time in which musical recycling, either by an original composer or by others, was an entirely acceptable practice, and the beginnings of the practice of reducing orchestral works for keyboard date from this period also.
Since the very dawn of the compact disc era, Ralph Kirkpatrick's seminal recordings of Domenico Scarlatti have mainly been conspicuous only by their absence from the active catalog. It's hard be sure just why, as all along listeners and reviewers alike have been requesting their return. Kirkpatrick's Bach has been reissued here and there, along with some oddities, including a live, all twentieth century recital Kirkpatrick performed in 1961, released on Music and Arts. But of the Scarlatti, nothing - how could the man who put the "K." in Scarlatti go neglected; were not his performances once considered the acme in Scarlatti played on the harpsichord?
The astonishing technical variety and wide emotional range contained in Domenico Scarlatti’s keyboard sonatas make each and every encounter a rewarding adventure in which the listener is seldom left untouched. This is Pierre Hantaï’s third solo disc of Scarlatti’s sonatas though only the second in his current series for the Mirare label. It contains several pieces less frequently performed than others and with which many readers may find themselves unfamiliar. The first item, in fact, is one of only seven sonatas of Scarlatti’s that is a straightforward fugue. It is an uncharacteristically didactic piece, even a shade austere compared to the rest of Hantaï’s recital which contains a kaleidoscope of colourful images. What Hantaï seems to be emphasising in his choice is that elusive, somewhat abstracted improvisatory quality present in so many of the pieces and of which the Sonata in E major K 215 provides a well-sustained example. Generally speaking, Hantaï follows Ralph Kirkpatrick’s suggestion that Scarlatti probably intended to group his sonatas into pairs or occasionally threes according to key.