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Track(s) taken from CDA67617

Sinfonia in D major

composer

Academia Montis Regalis, Alessandro De Marchi (conductor)
Recording details: March 2007
Oratorio Santa Croce, Mondovì, Italy
Produced by Mark Brown
Engineered by David Hinitt
Release date: January 2008
Total duration: 1 minutes 23 seconds

Cover artwork: Head of John the Baptist. Spanish School, 18th century
Basilica de San Juan de Dios, Granada, Spain / Bridgeman Art Library, London
 
1

Reviews

'When you learn that Handel owned an early copy of the manuscript all the pieces begin to fall into place; here is a perfect example of the Italian manner that was to influence him so fundamentally … each soloist is given masses of opportunity to display their bravura technique, both as individuals and jointly, when they comment on the action in some lovely choruses and madrigals … De Marchi really scores in his choice of soloists. Salome is sung by the exquisite soprano Anke Herman, Battista by the firm-voiced countertenor Martin Oro and the court counsellor by the excellent tenor Fredrik Akselberg, but the star of the disc is the bass Antonio Abete who as Herod thunders through some truly stunning arias' (The Observer)

'Stradella's score, characterized by constant variety, is ravishing throughout … the whole band plays with tremendous panache and stylistic aplomb' (International Record Review)

'Stradella is probably more famous for having been murdered … than for his music. That's a pity, for the latter, vital, free-flowing and bold, is well worth exploration. The oratorio San Giovanni Battista, composed in 1675, is one of his finest works, a thrilling drama calling for virtuoso singing of the highest order. The Academia Montis Regalis's playing is wonderfully alive' (The Sunday Times)

'If you haven’t heard this recording, you won’t believe your ears … this is as stunning a piece and performance as I’ve heard from this era since Noah Greenberg introduced Salamone Rossi to us a half-century ago—possibly better, because the music is far more modern for its time. The strings of the Montis Regalis Academy dig and bite into the music with a relish far too rare nowadays. The singers … perform this music as if they really mean it, with a proper legato, vocal shading, and dramatic commitment that you must hear to believe. By the time the disc is ended, you are not only emotionally drained but also stunned. This is not just another 17th-century oratorio; this is a major masterpiece, musically and dramatically so original, innovative, and advanced … this one is the performance I’ll savor for a long time to come' (Fanfare, USA)

'Alessandro De Marchi, sympathetic and stylistically informed, keeps things moving thus producing a sense of dramatic continuity … Academia Montis Regalis employ no vibrato at all; however, their clean tone and intonation and balanced, full-bodied sonority make for present, supportive accompaniments, while the players are vital and sensitive in their solo passages and movements … the sound quality is excellent' (Opera News)

'The performance is very good, with some superb singing and great playing—the contrast between the concertino group and the orchestral tutti is very dramatic' (Early Music)
Carlo Ambrogio Lonati’s Sinfonia for two violins, cello and continuo in D major performs the function of connecting the first and second scenes. The improvisatory opening lends itself perfectly to connecting the pastoral first episode to the scene in the palace; the actual arrival at the palace is represented by the solemnity of the second section and the subsequent contrapuntal passage.

from notes by Alessandro de Marchi © 2008
English: Hugh Ward-Perkins

La Sinfonia pour deux violons, violoncelle et continuo en ré majeur de Carlo Ambrogio Lonati sert à connecter les deux premières scènes. L’ouverture improvisée relie parfaitement le premier épisode pastoral à la scène dans le palais; quant à l’arrivée même dans le palais, elle est incarnée par la solennité de la seconde section et par le passage contrapuntique subséquent.

extrait des notes rédigées par Alessandro de Marchi © 2008
Français: Hypérion

Carlo Ambrogio Lonatis Sinfonia für zwei Violinen, Cello und Continuo in D-Dur leitet von der ersten zur zweiten Szene über. Ihr improvisatorischer Anfang eignet sich ausgezeichnet dazu, die pastorale erste Episode mit der Szene im Palast zu verknüpfen: die Ankunft im Palast wird durch die Feierlichkeit des zweiten Abschnitts und die folgende kontrapunktische Passage dargestelltt.

aus dem Begleittext von Alessandro de Marchi © 2008
Deutsch: Renate Wendel

La Sinfonia a 2 violini, violoncello e basso in re maggiore di Carlo Ambrogio Lonati svolge la funzione di ponte tra la prima e la seconda scena. L’inizio di tipo improvvisativo (se non avessi trovato questo pezzo avrei chiesto al primo violino di inventare all’impronta un «ponte») si presta perfettamente a collegare la scena «pastorale» con quella «a palazzo»; l’arrivo alla reggia è rappresentato a sua volta dalla seconda sezione dai modi solenni e dalla successiva in stile contrappuntistico.

Alessandro de Marchi © 2008

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