Sebastian de Albero - Six Recercatas, Fugues and Sonatas
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Label: Brilliant Classics
Cat No: 95187
Format: CD
Number of Discs: 2
Genre: Instrumental
Release Date: 19th February 2016
Contents
Works
Recercata, Fuga and Sonata no.1 in D majorRecercata, Fuga and Sonata no.2 in A major
Recercata, Fuga and Sonata no.3 in B flat major
Recercata, Fuga and Sonata no.4 in G major
Recercata, Fuga and Sonata no.5 in C major
Recercata, Fuga and Sonata no.6 in E major
Artists
Alejandro Casal (harpsichord)Works
Recercata, Fuga and Sonata no.1 in D majorRecercata, Fuga and Sonata no.2 in A major
Recercata, Fuga and Sonata no.3 in B flat major
Recercata, Fuga and Sonata no.4 in G major
Recercata, Fuga and Sonata no.5 in C major
Recercata, Fuga and Sonata no.6 in E major
Artists
Alejandro Casal (harpsichord)About
In his own detailed booklet note, Casal homes in on the collection’s most extraordinary feature, which is the length of the fugues, up to 522 bars for the A major fugue (almost ten minutes in performance; in terms of duration, three others are even longer, up to thirteen minutes); compare this to Bach’s longest keyboard fugue, of 231 bars. It would be wild overstatement to compare de Albero with Bach in terms of contrapuntal mastery. Grove’s Dictionary notes the tendency of the fugues in this collection towards the ‘excessive sequences’ which sustain their length. They are nonetheless ‘fetching’, and preceded by highly imaginative recercars written in an improvisatory, often fantastical style, without barlines, freely crossing tonal boundaries whither de Albero’s invention takes him, and demanding considerable technical élan from the performer. Indeed the concluding sonatas, while written in a rousing major‐key to give the sense of an ending, could even be said to prefigure the bold Empfindsamkeit language of CPE Bach, but with a Spanish accent.
The harpsichord used on this recording is a copy of an original by Joachim José Antunes, Lisbon, kept at Finchcocks Musical Museum in Goudhurst, and built by Ugo Casiglia (Cinisi, Italy) in 2011: it is considered among the finest examples of Iberian keyboard‐construction, with a powerful, rich and melodic sound.
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