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Track(s) taken from CDA67359

Sonata a 6 in D major

composer

Crispian Steele-Perkins (trumpet), Alison Balsom (trumpet), The Parley of Instruments
Recording details: July 2002
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: March 2003
Total duration: 5 minutes 43 seconds
 
1
Presto e spicco  [1'58]
2
Grave  [0'35]
3
Canzona  [0'59]
4
Grave  [0'31]
5
Presto  [1'40]

Reviews

'Beautifully lyrical trumpet-playing' (BBC Music Magazine)

'Fascinating … Crispian Steele-Perkins and Alison Balsom play with an assured virtuosity' (The Daily Telegraph)

'It comes as no surprise to have a well researched, well presented and beautifully played issue from this team of artists and recording company. The trumpeters, representing the pioneering and the newest generations of players, are well matched and sparkling in their duets and share the solo works equally. It scarcely needs it, but this gets the warmest of recommendations' (Early Music Review)

'Soloists Crispian Steele-Perkins and Alison Balsam play with utmost delicacy and control' (Early Music Today)

'exemplary performances … The disc as a whole is not only extremely enjoyable in its own right, but is of value for illuminating a major development in the history of instrumental music' (Goldberg)

'Steele-Perkins and Balsom play throughout this recording as robustly and as sensitively as one could wish … Buy this disc' (Early Music)
In the sonatas by Lazzari and Torelli the cello is given a proper solo accompanied by a separate continuo part; in the Lazzari it has an expressive duet with the first violin, while in the Torelli it has a duet with the trumpet. Both works illustrate the trend around 1700 to more virtuosic and idiomatic writing, and for longer, more logically organized separate movements instead of the old ‘patchwork’ structures. Lazzari was a Franciscan monk who worked in his native Bologna throughout his life, with the exception of two periods spent in Venice. Torelli was also a native of Bologna and worked there until 1696, though he spent most of his later career in Germany.

from notes by Peter Holman © 2003

Dans les Sonates de Lazzari et de Torelli, le violoncelle est pourvu d’une écriture soliste idiomatique d’accompagnement sous la forme d’une partie séparée de continuo; dans le cas de Lazzari, il possède un duo expressif avec le premier violon, tandis que Torelli le fait dialoguer avec la trompette. Ces deux compositions incarnent la tendance des années 1700 à savoir une écriture plus virtuose et idiomatique, et des mouvements plus longs organisés logiquement au lieu des structures anciennes en «patchwork». Lazzari était un moine franciscain qui travailla durant toute sa vie dans sa ville natale, Bologne, à l’exception de deux périodes qu’il passa à Venise. Egalement natif de Bologne, Torelli y travailla jusqu’en 1696 même s’il passa la plus grande partie de sa carrière en Allemagne.

extrait des notes rédigées par Peter Holman © 2003
Français: Isabelle Battioni

In den Sonaten von Lazzari und Torelli erhält das Cello ein echtes Solo, begleitet von einem getrennen Continuo-Part; in der von Lazzari spielt es ein ausdrucksvolles Duett mit der ersten Geige, in der von Torelli ist ihm ein Duett mit der Trompete zugedacht. Beide Werke veranschaulichen den um 1700 herrschenden Trend zu eher virtuoser, idiomatischer Satzweise und zu längeren, logischer geordneten, getrennten Sätzen anstelle der alten „Flickwerkstrukturen“. Lazzari war Franziskanermönch und mit Ausnahme zweier Aufenthalte in Venedig zeit seines Lebens in seiner Heimatstadt Bologna beschäftigt. Torelli stammte ebenfalls aus Bologna und war dort bis 1696 tätig, verbrachte jedoch den späteren Teil seines Berufslebens in Deutschland.

aus dem Begleittext von Peter Holman © 2003
Deutsch: Anne Steeb/Bernd Müller

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