BOCCHERINI EN BOADILLA Trios opus 14 (1772)
La Real Cámara
La Real Cámara
Recorded at Église de Franc-Waret, Belgium, in March 2005 Engineered and produced by Manuel MohinoBooklet essay by Jaime TortellaExecutive producer: Carlos CésterDesign 00:03:00 oficina tresminutosBooklet in English - Español - Français - Deutsch
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BOCCHERINI EN BOADILLA
Trios opus 14 (1772)
Trío op. 14/1 (G95) en Fa mayor / F major01 Allegro02 Adagio assai 03 Minuetto Allegro Trío op. 14/2 (G96) en Do menor / C minor04 Allegro moderato 05 Adagio 06 Tempo di minué 07 Prestissimo Trío op. 14/3 (G97) en La mayor / A major08 Allegro moderato09 Largo 10 Allegretto smorfioso & Adagio come Iª 11 Minuè
CD 2Trío op. 14/4 (G98) en Re mayor / D major01 Allegro giusto 02 Andantino 03 Allegro assai Trío op. 14/5 (G99) en Mib mayor / Eb major04 Andantino 05 Allegro, e con spirito 06 Variazioni. Allegretto sostenuto Trío op. 14/6 (G100) en Fa mayor / F major07 Larghetto 08 Allegro 09 Rondeau con moto 2:34
About this CD
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. Moreno's chamber music activities with La Real Cámara have provided us, for instance, with a survey of music from the times of the painter Francisco Goya as well as a previous disc devoted to late Boccherini String Trios. This new Boccherini recording covers the group of six Trios (G95-100, op. 14) dating from 1772 when Boccherini was working in Spain for the Infante Don Luis de Borbón in Boadilla - in the palace recently restored for Milos Forman's film Goya's Ghosts - which come to life in the hands of Moreno and his long-term collaborators Enrico Gatti and Gaetano Nasillo.Moreno: "From the very beginning Boccherini has always been a reference point in Spanish music for me. Although it is true that he was already fully-formed as a composer when he arrived in Spain, the subsequent Spanish influence on him - beyond the question of fandangos - is so clear that it is difficult not to consider Boccherini as a Spanish composer. I am captivated by his marvellous independence from the Viennese tradition, his particular handling of string colour, his easy-going and fluid melodic capacity, the delicateness of his dynamic shadings... The six Trios op. 14 from 1772, together with the terzettini, op. 47 from 1793 are the only works written for the combination of violin, viola and cello. They are possessed of an admirable writing in which the three instruments at times sound like a quartet or a quintet; the part for the viola - and I have a special attraction for this instrument - is specially beautiful; and I was additionally attracted to the idea of recording these pieces alongside my great, admired and much-loved friends Enrico Gatti and Gaetano Nasillo, with whom I enjoy an immense musical affinity."
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...]