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Track(s) taken from CDA67359

Sonata a 5 in D major

composer

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: 4 minutes 8 seconds
 
1
2
Grave  [0'38]
3
Allegro  [1'06]
4

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)
The sonata by Giuseppe Maria Jacchini has the three-treble scoring as the Stradella sinfonia, though it is more old-fashioned in its structure and musical language: it is relatively short-winded and is a patchwork of six short, contrasted sections. Jacchini was a cellist in the musical establishment at San Petronio from 1680 until his death in 1727, and may have been partly responsible for developing the cello as a solo instrument in concerted sonatas; in the present sonata the central trumpet solo has a soloistic bass part that is clearly intended for his instrument.

from notes by Peter Holman © 2003

Pourvue d’une orchestration similaire à la Sinfonia de Stradella, avec trois parties aiguës donc, la Sonate de Giuseppe Maria Jacchini s’illustre par une structure et un langage musical nettement plus désuets. Réunissant six courtes sections contrastées, à la manière d’un «patchwork», elle exploite des carrures relativement concises. Violoncelliste en vue sur la scène musicale de San Petronio de 1680 à sa mort, en 1727, Jacchini est en partie à l’origine du développement du violoncelle comme instrument soliste de la sonate concertante. On pourra remarquer dans cette sonate que le solo central de la trompette est secondé par une partie de basse soliste clairement conçue pour son instrument.

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

Die Sonate von Giuseppe Maria Jacchini hat die gleiche Besetzung mit drei Sopraninstrumenten wie die Sinfonie von Stradella, ist aber von ihrer Struktur und Musiksprache her altmodischer: Sie wirkt relativ kurzatmig, ein Flickwerk aus sechs kurzen, voneinander abgehobenen Teilen. Jacchini war ab 1680 bis zu seinem Tod 1727 Cellist im Musikensemble von San Petronio und könnte mit verantwortlich gewesen sein für die Entwicklung des Cellos zum Soloinstrument in konzertanten Sonaten; das zentrale Trompetensolo der vorliegenden Sonate ist mit einem solistischen Basspart versehen, der eindeutig für sein Instrument gedacht ist.

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

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