LUIGI BOCCHERINI Los últimos tríos
La Real Cámara Emilio Moreno, Enrico Gatti, Wouter Möller
La Real Cámara Emilio Moreno, violin Enrico Gatti, violin Wouter Möller, cello
Playing time: 68’14 Recorded at Iglesia de San Miguel, Cuenca, Spain, in September 1995 Engineered by Carlos Céster Produced by Emilio Moreno Executive producer: Carlos Céster Editorial assistant: María Díaz Artwork: oficina tresminutos 00:03:00 Booklet essay: Emilio Moreno Booklet in English-Français-Deutsch-Español
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LUIGI BOCCHERINI (1743-1805)
1-3 Trio op. 54/2 (G114) in G major Madrid, April 1796 Allegro con moto – Tempo di Minuetto – Rondeau. Allegro giusto
4-7 Trio op. 54/4 (G116) in C major Madrid, August 1796 Allegro con spirito – Andantino – Minuetto – Rondo. Allegretto moderato
8-11 Trio op. 54/5 (G117) in D minor Madrid, October 1796 Allegretto moderato – Minuetto con moto – Larghetto – Finale. Presto
12-15 Trio op. 54/6 (G118) in A major Madrid, November 1796 Presto assai – Larghetto – Tempo di Minuetto – Finale. Allegro vivo
About this CD
We have chosen one of the most emblematic Glossa discs as the third release of the new collection Los Siglos de Oro, which was edited originally in 1995 and has been out of stock for a few years. This is the second recording which the delightful group lead by Emilio Moreno, La Real Cámara, has dedicated to Luigi Boccherini, that Italian who would become the most significant of the late 18th-century Spanish composers. The repertoire could not be more peculiar, as these pieces are, according to the current state of musicology, the last composed for two violins and cello in music history.
These musicians are undoubtedly the finest specialists in Boccherini’s chamber music that exist nowadays. Emilio Moreno and Enrico Gatti, two former members of Chiara Banchini’s Ensemble 415, reproduce here, supported by Wouter Möller, a music full of detail of inspiring beauty and measured popular scent, which reveals an optimistic Boccherini in spite of the misfortunes that shadowed the last years of his life. As an additional incentive, we are in front of one the most beautiful designs that never came out of the Glossa factory. The choice of a painting by Goya is complemented with a lovely essay by Emilio Moreno concerning the two proven encounters between Boccherini and Goya, two artists with very much in common.