FRANCISCO JOSÉ DE CASTRO Trio sonatas op. 1
GCD 920314
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La Real Cámara Emilio Moreno, violin Enrico Gatti, violin Mercedes Ruiz, cello Pablo Zapico, Baroque guitar & theorbo Aarón Zapico, harpsichord
Production details
Total playing time 57:26 Recorded in Oviedo (Auditorio y Palacio de Congresos Príncipe Felipe), Spain, in February 2015 Engineered and produced by José Luis Crespo Executive producer: Carlos Céster Booklet texts by Marco Bizzarini and Emilio Moreno English – Français – Español – Deutsch
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FRANCISCO JOSÉ DE CASTRO (1670-1739)Trattenimenti armonici da camera, opus 1
Sonata Sesta 01 Preludio. Adagio 02 Allemanda. Presto 03 Adagio 04 Tempo di Borrea. Presto
Sonata Nona 05 Preludio. Adagio 06 Allemanda. Largo 07 Giga. Allegro 08 Minuet. Allegro
Sonata Terza 09 Preludio. Adagio 10 Allemanda. Presto 11 Tempo di Sarabanda. Allegro 12 Tempo di Gavotta. Presto
Sonata Settima 13 Preludio. (Adagio) 14 Allemanda. Allegro 15 Grave – Tempo di Sarabanda. Allegro
Sonata Decima 16 Preludio. Adagio-Presto-Adagio-Presto- Adagio-Presto-Adagio-Presto-Adagio 17 Allemanda. (Allegro) 18 Presto
Sonata Seconda 19 Allemanda. Allegro 20 Adagio 21 Allemanda. Allegro 22 Tempo di Sarabanda. Allegro
Sonata Ottava 23 Preludio. Grave 24 Corrente. (Allegro) 25 Grave 26 Presto
Sonata Quinta 27 Preludio. Adagio 28 Allemanda. Largo 29 Giga. Allegro
Sonata Prima 30 Preludio. Adagio 31 Allemanda. Allegro 32 Corrente. Allegro 33 Giga. Allegro34 Minuet all’unisono. Allegro
Sonata Quarta 35 Preludio. Adagio-Presto-Adagio-Presto-Adagio 36 Allemanda. (Allegro) 37 Minuet all’unisono. (Allegro) 38 Tempo di Gavotta. Presto
About this CD
A seventeenth century violinist-composer in Francisco José de Castro, who travelled from his birthplace of Seville to the Northern Italian city of Brescia where he composed chamber music, provides the focus for Emilio Moreno’s latest exploration of the forgotten and ignored in Iberian Baroque. Castro’s Trattenimenti armonici, Op 1, a set of ten trio sonatas da camera were published in 1695, by which time their composer had earned a deserved reputation for his musicality, especially as a follower of the innovative style of Arcangelo Corelli (Castro’s first opus was issued by a leading publisher in Bologna). These trio sonatas are the only known Spanish examples from the seventeenth century.
The sonatas – consisting of preludes followed by dance movements including those in the French manner – show the young Sevillian embracing the stylus phantasticus and the new violin virtuosity which he would have encountered in Spain (he may have been taught by Italian violinists) but the revelation of whose full glory was to await him when he moved to Brescia.
The performances from La Real Cámara – naturally being issued by Glossa – here are led by two modern virtuosi skilled in this genre, Emilio Moreno and Enrico Gatti, who are ably supported by Mercedes Ruiz, and Pablo and Aarón Zapico. Emilio Moreno regards Castro as the “Spanish Corelli”, a compliment which is borne out by this elegant and imaginative music, rich in harmonic and melodic ingenuity whilst continuing to be influenced by Francisco José de Castro’s “Spanish Muse”.