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
Buy this product
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.
There is still much work to be done in creating performing editions of Baroque music originating in Spain (and then going out and performing it...), yet this is just one area of musical life today that Emilio Moreno is contributing to. To follow on from delving into the popular culture of the turn of the 19th century, as epitomized by the tonadilla, which he successfully recreated for Glossa on La Tirana contra Mambrú, Moreno – along with El Concierto Español – turns now to the world of allegorical courtly serenatas as the shifting political national landscapes of the 17th century were disintegrating into the War of the Spanish Succession. [read more...]
If Spanish music from the Renaissance has become increasingly appreciated in recent decades that from the turn of the 19th century remains a blur for many. Not so for Emilio Moreno who – in addition to his musical expertise inthe Baroque and Classical, especially that gained through long association with the Orchestra of the 18th Century – has become something of a specialist in the music of the Age of Enlightenment in Spain. Moreno has been combining Herculean labours transcribing the scores of tonadillas from two centuries past with bringing their populist texts and music to audiences of the 21st century – both with singular success. Here he describes the nature of the dramatic genre that is the tonadilla and the level of its original success acting as barometer of the feelings of the ordinary people in Spain, especially those of Madrid. [read more...]
Whether it is as a string player, as a director of ensembles like La Real Cámara or El Concierto Español, or as a teacher and a scholar Emilio Moreno has been applying his talents in the cause of the music that he loves and defends: the previously ignored area of the Spanish Baroque and pre-Classical eras. Fortunately — and through the efforts of musicians such as Moreno — this area is far less of a desert on record than it once was (for Moreno there could still be yet more concerts). Moreno’s wide experience of such music is enhanced by his long-standing involvement with Frans Brüggen’s Orchestra of the Eighteenth Century, where he is the leader of the viola section.[read more...]
Despite an impressive track record of Italian violin music, one that covers major figures like Corelli, Veracini and Tartini, Enrico Gatti has only recently turned to the question of recording Vivaldi.
This Umbrian is a keen defender of Italian cultural values and their modern representation aided by active research. So he has somewhat been repelled by recent ‘fast and furious’ trends in the playing of Vivaldi – his booklet essay for this new Glossa recording gives further vent to his feelings on this subject – and it is only now that he as broken a 20 year recording ‘silence’ on the subject of the Red Priest. [read more...]