różni kompozytorzy
Venezia 1700 – Torricelli, Bonporti, Caldara, Dall'Abaco, Vivaldi & Albinoni
pełny spis kompozytorów
Dall'Abaco, Evaristo;
Vivaldi, Antonio;
Caldara, Antonio;
Albinoni, Tomaso;
Bonporti, Francesco Antonio
Noally, Thibault;
Les Accents
nr katalogowy
AP 128
The young French ensemble finds its impetus under the bow of Thibault Noally, who for ten years has held the prestigious position of violin solo of the Musicians of the Louvre Grenoble. He was also applauded in chamber ensembles, including Ophélie Gaillard's Pulcinella, and heard him exhume, with Les Accents, rare pages of the Italian vocal baroque in Beaune. • The first recording of the group (here in reduced formation: two violins, cello, theorbo and harpsichord) is more or less centered on Venice. The bow of the young Frenchman visits composers with a marked personality whose inspiration is the fruit of very different formations. Dall'Abaco is clearly influenced by the French style (the example of mixed style is here represented by the Largo of the Sonata in G minor ); Albinoni's melodic inspiration is striking for its audacity and elegance; Bonporti likes to use an ingenious counterpoint with multiple modulating possibilities that has captured Bach's attention. With Vivaldi's coloristic fantasy and two unreleased works (Torelli and Dall'Abaco), we expect a feast of the senses and the spirit. We will have neither one nor the other, but a violin recital dominated by an amazing technique. • Like all this is alike. Dall'Abaco's Presto e spiccato rolls out an impeccable garland of perfectly calibrated notes? The same ribbon can be heard at a higher speed in Albinoni's Presto , and the Bonporti Fantasy features a model of intermediate fabric. In any case, the fabric is irreproachable and silky. Emerging from this litany of pulsations at three and four beats, indifferent to the meanders of speech, the Lamento de Bonporti and the Preludio de Caldara display more flexibility and expressive ambition. The listener, suddenly drawn from a pleasant torpor, wonders: for whom do these musicians play? No doubt for us but for the specifications, clearly respected: intonation, virtuosity, implementation, regularity of the tempo. The continuo seems to engage in a real activity - difficult to judge as it is relegated to the back of the room by a plastically admirable but musically debatable sound. • Analyst: Philippe Ramin
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