Pasquini - L’ombra di Solimano: Cantatas for Bass and Continuo
£9.45
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Label: Brilliant Classics
Cat No: 95293
Format: CD
Number of Discs: 1
Release Date: 13th May 2022
Contents
Works
Agrippina, compagni 'Germanico'Alemanda, Correcte and Giga in G minor
Bizzarria e Variazione in D minor
Che volete da me
Era risorta invano 'L'ombre di Solimano'
Fantasia in E minor
Il fulmine son io
Misero cor, nascesti solo a piangere
Partite del saltarello
Passagagli in D minor
Quei diroccati sassi 'A Bella Donna sopra le ruine di Castro'
Toccata in F major
Versetto no.5 in D minor
Artists
Lisandro Abadie (bass)Alexandra Nigito (harpsichord)
Capella Tiberina
Works
Agrippina, compagni 'Germanico'Alemanda, Correcte and Giga in G minor
Bizzarria e Variazione in D minor
Che volete da me
Era risorta invano 'L'ombre di Solimano'
Fantasia in E minor
Il fulmine son io
Misero cor, nascesti solo a piangere
Partite del saltarello
Passagagli in D minor
Quei diroccati sassi 'A Bella Donna sopra le ruine di Castro'
Toccata in F major
Versetto no.5 in D minor
Artists
Lisandro Abadie (bass)Alexandra Nigito (harpsichord)
Capella Tiberina
About
By that late stage of his life, Pasquini had held one distinguished post after another in Roman musical life and become known as one of its celebrities, as celebrated for his abilities at the harpsichord as his contemporary Corelli was on the violin. Most of his vocal music remains unpublished, which makes the pioneering efforts of Capella Tiberina in this field especially welcome. This new recording forms a sequel to their 2013 album of two Passion Cantatas (94225) and makes a powerful case for Pasquini as Rome’s leading dramatic composer of his day.
Among Pasquini’s surviving cantatas, the six scored for solo bass stand out, for their keen sense of theatre and expressive rhetoric. They take Biblical history, tales of Roman history and pastoral-erotic tropes for their subjects, and they are imaginatively presented here as a cycle, interleaved with pieces for harpsichord, as though recreating a refined evening of music-making at a Roman palazzo around the turn of the 18th century.
Capella Tiberina is led in these stylish accounts by the harpsichordist Alexandra Nigito, who has made a particular study of Pasquini’s vocal music and edited several of his cantatas for modern publication (for the first time since they were composed). There is no more authoritative current exponent of this music, and she is joined here by other experienced performers on Italy’s rich early-music scene.
‘There is no lack of drama in these performances, and that makes this disc an attractive proposition.’ – MusicWeb
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