Outil de traduction (Très approximatif)
Translator tool (Very approximate)
1666’? Well, thankfully not because there was a fire there. But the date is a
touch misleading, since it is not that of the music but of the founding of the
city’s Accademia Filarmonica, a sort of high-level guild of composers and
performers whose demanding standards made it a benchmark of excellence –
particularly on matters theoretical – right up to Mozart’s time. All the
composers here were members of it while also working at the Basilica di S
Petronio, so although they range chronologically from Colonna (born in 1637) to
an anonymous composer working in the 1750s, there is every justification for
considering them a distinct ‘Bologna Instrumental School’ to set alongside the
more familiar Corellian ‘Roman’ and Vivaldian ‘Venetian’.
It makes a pretty good subject for a CD. Torelli is the only reasonably
wellknown name, and while Zavateri’s Op 1 concertos were recorded in full by the
Freiburg Baroque Orchestra in 1996 (DHM, 8/96), he is no more likely to be
familiar to most people than are Perti, Alberti or Laurenti. In truth, the
sinfonias struggle to engage when divorced from their intended oratorios, but
the concertos here are vital works with true characters of their own. For
descriptive purposes one could say that they combine the confident energy of
Vivaldi with the richer textures of Corelli, but it would probably be fairer to
appreciate these composers in their own right. Vivaldian influence is evident in
the concertos of Alberti, but like the others he provides his solo violinist
with a more shapely kind of virtuosity. And Zavateri’s A tempesta di mare
is a super piece.
The Basel Chamber Orchestra, on
period instruments, do them proud with their coursing full sound and evident joy
in the music, capped by director Julia Schröder’s easily virtuoso and tonally
ample solo violin. Here is proof that there are still plenty of invigorating
Baroque concertos out there to be rediscovered and enjoyed.
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