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Caporale : Sonates pour violoncelle. Haendel : Airs avec violoncelle obligé. Bonazzoli, Criscuolo, Tozzi.
Format : 1 CD
Total Time : 01:03:54

Recording : 18-20/06/2017
Location : Rome
Country : Italie
Sound : Stereo

Label : Brilliant
Catalog No. : BRIL95622
EAN : 5028421956220
Price Code : DM009A

Publishing Year : 2019
Release Date : 05/06/2019

Genre : Classical
Georg Friedrich Haendel (1685-1759)
Da sorgente rilucente, Récitatif & Aira extrait de "Parnasso in festa", HWV 73, Part III
Due bell'alme innamorate, Récitatif & Arioso, extrait de "Deidamia", Acte I, scène 2, HWV 42
Softly sweet in Lydian measure, Arioso extrait de "Alexander's Feast", HWV 75
Verginette dotte e belle, Aria extrait de "Parnasso in festa", HWV 73, Part I

Andrea Caporale (1699?-1746?)
Sonate pour violoncelle et basse continue n° 1 en la majeur
Sonate pour violoncelle et basse continue n° 2 en si bémol majeur
Sonate pour violoncelle et basse continue n° 3 en ré majeur
Sonate pour violoncelle et basse continue n° 4 en ré mineur
Sonate pour violoncelle et basse continue n° 5 en fa majeur
Sonate pour violoncelle et basse continue n° 6 en sol majeur

Ensemble Romabarocca
Angelo Bonazzoli, contreténor
Renato Criscuolo, violoncelle seul
Luisa Di Giacomo, violoncelle continuo
Eros Cucchiaro, archiluth
Lorenzo Tozzi, clavecin, direction

En ce début du XVIIIème siècle, Londres connaît un engouement pour le violoncelle qui a remplacé depuis peu la viole de gambe. En l’honneur du Prince de Galles qui le pratique assidument, de nombreuses pages fleurissent. Parmi elles, douze sonates co-écrites par le Napolitain Caporale, considéré comme le meilleur violoncelliste en Angleterre, et Galliard, flûtiste et hautboïste. Tous deux sont d’ailleurs solistes dans l’orchestre de Haendel qui, à la même époque, compose divers arias pour contre-ténor et violoncelle. D’où l’idée de rassembler un florilège de ces partitions. Jouées sur instruments anciens, ces pages nous font entendre un violoncelle à la sonorité plus âpre et moins profonde que ce à quoi nous sommes habitués. Une fois son oreille réaccordée, on y découvre des sonates richement ornées, très virtuoses et très fleuries superbement interprétées par Renato Criscuolo. Les airs de Haendel, plus courts mais mieux faits, sont toutefois un peu desservis par la voix manquant de grâce d’Angelo Bonazzoli. Le disque regroupe au total un petit répertoire d’œuvres rares et dont l’interprétation est probablement proche de celle de leur époque. Une curiosité. (Thierry Jacques Collet)

On the 260th anniversary of the composer’s death, this release celebrates Handel’s vocal works and particularly his writing for the cello. The set also sheds light on the lesserknown Andrea Caporale, one of the greatest cellists of the Baroque era and also a composer himself. In the 1730s, Handel and Caporale both lived and worked in London. While Caporale held celebrity status as the capital’s most sought-after cellist, Handel rubbed shoulders with the elite and composed for the royal court. This album takes a closer look at the time when they crossed paths. Caporale and Handel both moved in London’s musical circles and so it’s not surprising that they often worked together. A few years after his arrival in London, Caporale became part of Handel’s Opera Orchestra; he was the star name on the bill at fundraising concerts and performed in new works such as Deidamia and Alexander’s Feast, the latter containing two arias with obbligato cello which Handel had written specifically for him. Handel brought overall vision to the music and Caporale brought expert knowledge of his instrument. Their partnership came at an important turning point in the history of the cello: Prince Frederick of Wales had recently developed a keen interest in playing it, and this propelled the instrument, once regarded as inferior to the viol, into mainstream culture. The opening track comes from Handel’s opera Parnasso in Festa and in keeping with the trend, the movement features a decorative cello solo. The following tracks showcase Caporale’s creative output. The sonatas are characteristic of the late Baroque and various melody lines weave an intricate tapestry, through different keys and moods, before drawing to a unified close. Handel’s vocal works display similar traits and the set alternates between the two composers, revealing their similarities and how they appropriated musical trends of the era. Whereas most players of the era were prized for their virtuosity and technical prowess, Caporale was famous for his emotional playing. This attention to expressivity is highlighted in his compositions, his Sonata in F opens with a simple and songlike melody, allowing the player to bring out the emotional depth embedded in every note and the Sonata in D moves through the full range of the instrument, from the rich bass to melancholy soprano melodies. In its entirety, this set offers both a fresh perspective on one of history’s greatest composers and the opportunity to uncover music written by his star performer.

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