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Porpora, Monn, Haydn : Concertos pour violoncelle. Fazio, Cappella Neapolitana.
Format : 1 CD
Durée totale : 01:04:31
Prise de son : Stereo

Label : Brilliant Classics
Référence : BRIL95570
EAN : 5028421955704
Code Prix : DM008A

Année d'édition : 2017
Date de sortie : 29/11/2017

Genre : Classique
Nicola Antonio Porpora (1686-1768)
Concerto pour violoncelle en sol majeur

Georg Matthias Monn (1717-1750)
Concerto pour violoncelle en sol mineur

Joseph Haydn (1732-1809)
Concerto pour violoncelle n° 1 en do majeur, Hob VIIb

Adriano Maria Fazio, violoncelle baroque (19e siècle)
Cappella Neapolitana
Alessandro Ciccolini, violon I
Patrizio Focardi, violon 2
Rosario Di Meglio, alto
Andrea Lattarulo, violoncelle
Luca Ghidini, contrebasse
Andrea Perugi, clavecin

According to Early Music Review, ‘Easy lyricism and musicality’ was a hallmark of Adriano Maria Fazio’s debut for Brilliant Classics in six cello sonatas by Porpora. Now the cellist continues his exploration of the birth of his instrument’s repertoire with three concertos which significantly enlarged and redefined wider understanding of the cello, not merely as a textural and harmonic underpinning element for another melody instrument but as more than capable of holding the limelight in its own right. Fazio returns first to Porpora, with a G major Concerto which is not so well known as another A minor work in the same genre, but is no less shapely or melodically rewarding. Here already are complex technical challenges which far outstrip anything required of the cello in basso continuo mode, such as thumb position and intensive use of the higher register. Porpora it was who, having left his native Naples to settle in Vienna, took on the teenage Joseph Haydn as an assistant. Under the elder composer’s guidance, Haydn’s musicianship was greatly refined, not only as a composer but a singer and instrumentalist. Thus the present recording presents a very rare opportunity to hear the extent of Haydn’s debt to Porpora. And just as Porpora must have had a formidable soloist in mind to write the G major Concerto, so Haydn, now employed at Esterhazy, could call upon the formidable talents of the court orchestra’s principal cellist, Joseph Weigl. The C major Concerto remains Haydn’s most splendidly virtuosic concerto for any instrument, written to fit the full capacity of a soloist like a kidleather glove, daring and yet effortlessly stylish. In between Haydn and Porpora, Adriano Maria Fazio places the G minor Concerto of Georg Philipp Monn, which was revived in the middle of the 20th century by an unlikely but successful reorchestration for updated orchestral forces by Arnold Schoenberg. These days, however, Monn’s original stands on its own two feet, as a missing link between Porpora’s effervescent but formal Italian Baroque style and Haydn’s brand of Viennese Classicism.

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