Texte paru dans: / Appeared in: |
||||
Appréciation d'ensemble / Overall evaluation :
 ½ |
||||
|
Reviewer: Paul
Riley
There’s something a little odd
about the title of La Serenissima’s debut on the Signum label. True it opens
with Telemann who was CPE Bach’s Godfather. But the relationship isn’t pursued.
Perhaps director Adrian Chandler has something less literal in mind? For if
Vivaldi might be said to stand godfather to the high Baroque concerto, he also
took a ‘godfatherly’ interest in his pupil Pisendel’s concerto movement in A
minor, offering corrections to a work smuggling in nods to the Red Priest’s Op.
3 L’estro armonico. Then there’s Pisendel himself whose famed virtuosity on the
violin possibly exerted an influence on JS Bach’s solo Sonatas and Partitas, not
to mention an ebullient multi-instrument concerto movement composed some time
after Bach’s 1741 trip to Dresden (where the violinist led the court orchestra).
Add in Brescianello, an Italian working in Stuttgart who stitched German ideas
into his native concerto inclinations and it’s clear that here is a disc about
inter-connectedness. Intelligently planned; eager to stray from the tried and
tested.
Bookending the line-up, and with a
show-stopper halfway through, are D-major works revelling in
three-trumpets-and-drums ebullience bolstered by winds and, in two cases, solo
violin. Nothing, of course, quite matches the intricate, dancing exuberance of
the Bach, Chandler’s direction customarily punchy and to-the-point. And Peter
Whelan is a conspicuously suave companion in Brescianello’s Concerto for violin
and bassoon. With La Serenissima on incisively tip-top form the programme’s
Italogerman entente proves cordiale even when compositional inspiration
sometimes flicks to cruise control.
| ||||
|
||||
|
|
|
|||
|
|
|
|||
|
Cliquez l'un ou l'autre
bouton pour découvrir bien d'autres critiques de CD |
||||
