A Scarlatti - Sinfonie da concerto grosso Parte prima (I-VI)
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Label: Tactus
Cat No: TC661906
Format: CD
Number of Discs: 1
Release Date: 29th September 2008
Contents
Works
Flute Concerto in A minorSinfonie di Concerto Grosso no.1 in F major
Sinfonie di Concerto Grosso no.2 in D major
Sinfonie di Concerto Grosso no.3 in D minor
Sinfonie di Concerto Grosso no.4 in E minor
Sinfonie di Concerto Grosso no.5 in D minor
Sinfonie di Concerto Grosso no.6 in A minor
Artists
Accademia della Magnifica ComunitaConductor
Enrico CasazzaWorks
Flute Concerto in A minorSinfonie di Concerto Grosso no.1 in F major
Sinfonie di Concerto Grosso no.2 in D major
Sinfonie di Concerto Grosso no.3 in D minor
Sinfonie di Concerto Grosso no.4 in E minor
Sinfonie di Concerto Grosso no.5 in D minor
Sinfonie di Concerto Grosso no.6 in A minor
Artists
Accademia della Magnifica ComunitaConductor
Enrico CasazzaAbout
The twelve Sinfonie di Concerto Grosso are of particular significance in this context, according to the autograph in the British Museum in London, and were “cominciate il primo giugno” (started on the first of June) 1715. It is not clear why the fifty-five year old Scarlatti decided to dedicate himself to a repertory that, up until then, he had practically ignored. Some say that his interest was stimulated by the necessity to increase his income with an instrumental collection that, when published, would have earned him money and fame, above all in England (this theory would also explain why the manuscript is in London).
As regards the flute, the instrument featured most in these works; it is interesting to remember the famous visit that Scarlatti paid to the young Johann Joachim Quantz in 1725. According to the chronicles of that time, Scarlatti, who was an old man by then, had always had a natural aversion to wind instruments, which he said were unbearably out of tune. After Johann Adolph Hasse, a friend of Quantz and pupil of the Palermitan composer, had insisted again and again, Scarlatti agreed to receive the future preceptor of Frederik II of Prussia, and write some “soli per flauto” especially for him.
In Sinfonie di Concerto Grosso, written ten years before this memorable meeting, Scarlatti wrote the flute part which is technically linear and not excessively difficult, but full of expression, most evident in the extended melody of the slow movements and which, according to some, would confirm that he did not think much of the technical resources of this instrument.
One of the most significant works in this collection is the Sinfonia II in D major, which opens with a Spiritoso in which the decidedly military sound of the trumpet, accompanied by the flute at thirds and then sixths, creates an exciting atmosphere that soon calms to the melodies of the next Adagio, in which the flute finds a delicate level of introspection. This sweet contemplative oasis soon makes way for a sparkling and lively Allegro, in which the trumpet and flute highlight their distinctive expressive characteristics. Another short Adagio announces the grandiose Presto that, with the superb sound of the trumpet, magnificently closes what it perhaps the most outstanding work in the whole collection.
The Sinfonia IV in E minor for flute and oboe is exactly the opposite in character: the excitement of the first movement creates an extraordinarily incisive, dramatic atmosphere. True to the way of alternating the affetti in most works at that time, the tension dissolves into a relaxed and charming cantabile, which sometimes reminds us of Vivaldi, and ends joyously with a lively giga of decidedly popular origin.
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