Georg Christoph Wagenseil: Six Sonatas for Violin, Cello and Violone

Klasyczna Muzyka Kameralna / Klasycyzm
premiera polska: 18.02.2022
opakowanie: Jewelcaseowe etui
opis:
multikulti.com * * * * 1/2:
Premiera fonograficzna sześciu sonat na skrzypce, wiolonczelę i altówkę Georga Wagenseila, na którego dorobku wzorowali się Joseph Haydn i Wolfgang Amadeus Mozart to gratka dla melomanów. Ten prominentny przedstawiciel staro wiedeńskiej szkoły kompozytorskiej, wraz z innymi artystami, jak Georg Matthias Monn i Karl Ditters von Dittersdorf, stworzył podwaliny pod wiedeński klasycyzm. Pomieszczone na płycie sonaty, skomponowane na początku lat pięćdziesiątych XVIII wieku są właśnie doskonałą emanacją stylu galant, który na wiele lat zdominuje sztukę kameralnego muzykowania w XVIII-wiecznej Europie.

Sześć triowych sonat Wagenseila dają pojęcie, czym była idea "muzycznej rozmowy", rozpropagowana po odejściu od barokowego formatu basso continuo, w epoce pomiędzy barokiem a romantyzmem. To jedne z pierwszych sonat, skomponowanych tylko na trzy niezależne instrumenty smyczkowe. Obsada instrumentalna w tych sonatach odzwierciedla wokalny wzorzec tria tworzonego przez głosy sopranowy, tenorowy i basowy, gdzie dwa wyższe głosy przeplatają się w duecie, a bas tworzy brzmieniowy fundament, kontroluje, wskazuje, dopowiadając tu i ówdzie wokalne znaczniki.

Wykonanie tria Musica Elegentia jest pełne inwencji i dobrego smaku. Kierujący zespołem altowiolinista Matteo Cicchitti pewną ręką panuje nad polifoniczną strukturą sonat, w których dialogi, co rusz tworzą nowe sploty brzmieniowe, niezmiennie pełne inwencji melodycznej. Zespół podszedł do partytury z dużym rygoryzmem formy, uzyskując jednocześnie gładką strukturę brzmieniową.
autor: Henryk Majda
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Editor's info:
World Premiere Recording of Six Sonatas for violin, cello and violone by Georg Wagenseil.
These Sonatas were composed in the early Fifties of the 18th Century and belong to what is known as ‘galant style’ - exquisite testimonies of the age between Handel and Bach on the one hand, Haydn and Mozart on the other.
It is apparently simple music, but actually much refined. It aims to reproduce the conversation between three voices, so common in aristocratic (but also bourgeois) lounges.
Solid structure, polyphonic dialogue and melodic invention conjure up for a pleasant listening.
First recording of Musica Elegentia on Challenge Classics. We plan to release more with this ensemble that is engaged in the rediscovery of quality instrumental music dating from a period still neglected by discography.
The path traced on this CD, with music by Georg Christoph Wagenseil (1715-1777), and on following ones has the undoubted merit of introducing us to some composers considered “minor” compared to Haydn and Mozart. They were not only very active and influential on the musical life of that time; they also created a considerable amount of quality music, which deserves to be rediscovered and appreciated. In a historical-musical perspective, the music of these less famous authors helps to reconstruct the passage between the decline of the Baroque, towards the middle of the eighteenth century, and the noon of the classical style. A period that we often classify as ‘pre-classical’ or ‘galant’ or ‘early Viennese school’. This praiseworthy cultural operation, aimed at rediscovering not only “minor” composers but also certain genres considered “domestic” music allows us to better understand how the “musical landscape” looked like, especially in Vienna. Domestic music responded to the desire for cultured entertainment not only for the aristocracy but also for the rising bourgeois class; and as such, it constituted an indubitable status symbol.

The six sonatas in trio on this CD, dating from around the 1750s can be ascribed to the genre of ‘divertimento’: before 1780 the term was all-encompassing, and included all non-orchestral instrumental music, including sonatas and quartets. Above all, the idea of “musical conversation”, or dialogue or discourse between the different instruments, is very present in this type of composition, in which a pleasant and well-regulated lounge conversation is simulated and sublimated with just the notes.
The collection of Six Sonatas, presented on this CD, from the early fifties of the eighteenth century should be placed among the first chamber documents for three independent strings, without the support of a keyboard instrument for the realization of the continuo. The instrumental ensemble in these Sonatas almost reflects the vocal pattern of a trio between soprano, tenor, and bass, where the two upper voices interweave a duet, and the low one sustains, controls, points out, intervening here and there with short cues.
In general, in these “divertimenti-sonatas” there is a sure hand in managing the polyphonic dialogic interweaving as well as the shape of the form, mixed with a pretty good standard of melodic invention, always inserted in a rigorous and at the same time smooth structure.

And this happens all the more in the performance of Musica Elegentia, which aims at enhancing the idea of inter-instrumental dialogue and the individuality of the three instruments, as if they were interlocutors in conversation. These Sonatas are exquisite testimonies of the middle age between Handel and Bach on the one hand, Haydn and Mozart on the other.
Studies on performance practice have shown that in Viennese and Austrian circles the use of the violone as “bass” was very frequent, at least up to a certain date. Joseph Haydn himself indicated only “Violone” in his scores until 1772. The violone in this epoch was considered the “true” bass of the string family. The three instruments are always well identified, and you can always grasp the individual lines: the main melody as well as the embroidery, the foreground as well as the background.

Matteo Cicchitti
Violonist, double bass player, gambist and teacher, connoisseur and continuous researcher of historical performance. He combines his activity as an instrumentalist with that of artistic and musical director for the repertoire of the sixteenth, seventeenth and eighteenth centuries.

He obtained, with top marks, academic qualifications and highly perfected specializations in Conservatories and Higher Musical Institutions in the cities of Pescara, Como, Pavia, Parma, Gubbio, Rome, Frosinone, Reggio Emilia and Vienna under the guidance of famous masters: P. Montero, R.Sensi, L.Schumacher, G.De Frenza, W. Casali, W. Güttler, M.Di Bari, U. Nastrucci, P.Veleno, N.Conci, S.Montanari, S.Genuini and F.N.Lara.

In the didactic field, he teaches at state, civic and private schools and is active as a teacher in instrumental and chamber music courses that are particularly focused on the practice of ancient instruments.

He has held conferences, masterclasses and seminars at the University “G. D’Annunzio” of Chieti, the ISSM “G. Briccialdi” in Terni, the “G. Nicolini” in Piacenza, the “A. Vivaldi” in Alessandria, the Museum of Harmonic Strings in Salle (Pe) in Abruzzo (Italy). He was invited to México to hold a baroque music masterclass in the context of the “III Festival de Música de Cámara de Jalisco” (Guadalajara, Jal. Mx).

Musica Elegentia consort is a group which originates from the Musica Elegentia musical cultural association. They perform ancient music on period instruments or on faithfully reproduced copies, applying a philological reading of the music interpreted using the techniques documented by the musical interpretation treatises of the same eras.

The ensemble, founded in Lanciano CH at the end of 2012, is directed by the Abruzzese musician Matteo Cicchitti, connoisseur and continuous researcher of historical performance.

ME has participated in concerts of considerable importance in prestigious theaters and halls - Bolognese Society for Ancient Music in Bologna; Music at Marfisa d’Este in Ferrara; Early Music Day 2019, University “G. d’Annunzio” of Chieti; Musica Antiqua ed. VIII in Vasto; Independent International Literary Prize “Marguerite Yourcenar 2013” in combination with the Music Festival of Nations, Teatro Marcello in Rome; Keiros Theater in Rome; La Classica a Trastevere in Rome; The Concerts of Santa Barbara dei Librari in Rome; X International Baroque Music Festival in Alessandria; Sibrii Music Festival in Varese; Flos Carmeli in Lanciano (Ch); Fenaroli Theater of Lanciano (Ch); The long night of the Churches IV ed. In Lanciano (Ch); Record Store Day 2019 in Lanciano (Ch); Salle Music Festival Chorda Sallis Award in Pescara; European Researchers’ Night 2018, Palazzo de’ Mayo in Chieti; International Festival of Baroque Music, Abruzzo Region - offering the public monographic concerts with a repertoire that embraces a large part of the sacred and secular music of the 16th-17th-18th centuries, both instrumental and vocal.

muzycy:
Matteo Cicchitti - Violone, musical director
Paola Nervi - Violin
Antonio Coloccia - Cello
Musica Elegentia

utwory:
1. Sonata I - Allegro (03:58)
2. Sonata I - Andante (03:13)
3. Sonata I - Allegro (01:53)
4. Sonata II - Allegro (03:33)
5. Sonata II - Andante (03:21)
6. Sonata II - Menuet (02:03)
7. Sonata III - Moderato (03:58)
8. Sonata III - Andante (04:45)
9. Sonata III - Tempo di Menuet (01:54)
10. Sonata IV - Allegro moderato (03:55)
11. Sonata IV - Andante (03:57)
12. Sonata IV - Tempo di Menuet (02:11)
13. Sonata V - Allegro (03:28)
14. Sonata V - Andante (04:36)
15. Sonata V - Allegro (01:17)
16. Sonata VI - Allegro (02:48)
17. Sonata VI - Larghetto (03:39)
18. Sonata VI - Allegro molto (02:11)

more info: www.challenge.nl