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STRADELLA COMPLETE STRING SINFONIAS ENSEMBLE ARTE MUSICA 路 FRANCESCO CERA
Alessandro Stradella (1639-1682)
15. Largo-Allegro 16. Presto
Complete String Sinfonias
17. Sinfonia in D minor No.1 for violin, cello and continuo 8’02
Sinfonia in C No.1 for two violins and continuo 1. Grave-Allegro 2. Allegro 3. Largo 4. Presto
2’06 1’35 1’40 1’36
Sinfonia in A minor No.8 for two violins and continuo 5. Allegro 6. Andante 7. Allegro 8. Allegro
0’52 2’32 2’03 2’27
Sinfonia in D No.2 for two violins and continuo 9. Adagio-Allegro 10. Vivace 11. Grave-Presto 12. Presto
1’49 0’43 1’19 1’42
Sinfonia in F No.5 for two violins and continuo 13. Allegro 14. Adagio
0’51 2’17
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2’12 2’23
Sinfonia in D No.3 for two violins and continuo 18. Allegro 19. Allegro 20. Adagio 21. Allegro 22. Presto
1’18 1’30 2’59 2’30 0’59
Sinfonia in G No.7 for two violins and continuo 23. Largo 24. Vivace 25. Allegro 26. Allegro
1’52 1’23 1’12 0’51
Sinfonia in A minor No.9 for two violins and continuo 27. Largo-Allegro 28. Presto-Adagio 29. Allegro 30. Presto
1’30 0’42 0’53 1’31
31. Sinfonia in B flat No.2 for violin, cello and continuo 6’27 Sinfonia in D No.4 for two violins and continuo 32. Grave-Allegro 33. Allegro 34. Largo 35. Presto
1’13 1’06 1’06 0’43
Sinfonia in F No.6 for two violins and continuo 36. Grave-Allegro 37. Largo 38. Allegro 39. Presto
1’43 1’32 1’14 1’37
Tempo indications are absent in the original manuscripts, except for the Sinfonia in C.
ENSEMBLE ARTE MUSICA Marco Piantoni · Nunzia Sorrentino violins Rebeca Ferri cello Francesco Cera harpsichord and organ violin by Montanucci e Rivoli 2013 after Giovanni Paolo Maggini 1620 ca. violin by Loeiz Honoré 1994 after Antonio Stradivari cello by André Mehler 2011 after Martinus Kaiser 1679 harpsichord by Formentelli 1987 after Cristofori 1690 ca. organ by anonymous (Neapolitan school) 1772 bellows are hand-operated by Antonio Prinzo 3
Complete Chamber Sinfonias Alessandro Stradella’s music, which is at last receiving something of the interest it deserves, contains passages of pure genius even in the relatively small but excellent instrumental repertoire. From his oratorios, operas and cantatas it is clear that he paid close attention to his choice of instruments, with frequent use of complex ensembles, such as those required for the concerto grosso, as well as solo instruments: not only the violin, but also the harp, lute and cello. The complete chamber sinfonias recorded here for the first time comprise nine works for trio consisting of two violins and cello with basso continuo, and two for violin and cello accompanied by basso continuo. The two manuscripts, respectively kept in Modena and Turin, do not suggest that the compositions were originally part of a single oeuvre, but rather that they were all individual works. We know that Stradella received commissions for instrumental music on various occasions from one of his patrons, the Venetian nobleman Polo Michiel. From 1660 on the trio sonata was increasingly in demand, not only in Venice, but also between Bologna and Modena, with composers such as Cazzati, Colombi, Giovanni Maria Bononcini and Degli Antoni, and in Rome, first with the works of Colista and Mannelli, and later with Corelli. As with all composers of great genius, Stradella embodied a synthesis of all that was in the air at the time, while investing his creations with a marked degree of individuality. As a result, his style eludes categorization within the confines of a specific Italian school. Within this latter framework, it was the Sonata that prevailed, whereas Stradella’s trio works always go by the name of Sinfonia, a terms employed for the instrumental pieces that were used to introduce oratorios and theatrical works. In fact Stradella employed three of these instrumental pieces as Sinfonias for vocal works, both in their entirety – such as the Sinfonia for the oratorio Susanna (tracks 1-4) – and with just the first movement – for instance the introduction to the cantatas Esule dalle sfere (tracks 9-10) and Furie del nero Tartaro (track 18). Furthermore, many of the trio Sinfonias proceed in a manner that is distinctly theatrical, with greatly contrasting sections ranging from the frenzied to the meditative, or a 4
development that is evidently rhetorical, almost narrative. An eloquent example of this aspect is the Sinfonia in F major (tracks 13-16). This begins with a very agitated first movement, and continues with an original Adagio in ternary rhythm with a slow subject interwoven with a fast counter subject. Next comes a contemplative Largo, with a chain of suspensions that then gives way to a very fast movement leading to the agile, dance-like conclusion. A further example of rhetorical form can be found in the Sinfonia in D major (tracks 18-22), with its five movements the longest of these compositions. In the first movement the concitato style contrasts with chains of dissonance, whereas the second movement is agile and flowing. The third is an extended adagio whose dramatic mood gives way a passage of gentle docility, whereas the fourth is an imposing fugue of proportions reminiscent of Handel’s oratorio fugues (we know that Handel was acquainted with Stradella’s music, borrowing various passages from his works). The composition ends with a conclusion in dance form. Although such rhetorical forms were fairly common in the Sonatas of the period, Stradella stands out for the way he urged the rhetorical intent forward to highly developed, extreme contrasts of mood. The Sinfonia in A minor (tracks 5-8) is the outstanding masterpiece of the trio Sinfonias. A short, turbulent introduction gives way to a moving adagio in ternary rhythm leading to the development, amid dissonance and intensification, of a simple subject of great charm. The third movement is a structurally complex fugue, while the last movement - in tempo di corrente – features contrasting syncopated elements and quick figurations leading to a finale based on dramatic dissonance that ends up in suspension, almost as though it were an imperious question mark. Other last movements are handled with touch of wit: for example the fast gigue in the Sinfonia in D major (track 31) and the enigmatic and surprising movement that concludes the Sinfonia in F major (track 39). Unlike the trio Sinfonias, in the duet Sinfonias (or Sonatas, given that they have no title in the manuscript) for violin and cello there is no clear subdivision into movements. While in the Sinfonia in B flat major (track 30) a serried succession of 5
short movements produces music that comes across as very light and free of particular compositional complexity, the Sinfonia in D minor (track 17), a true masterpiece, is more like a toccata for various instruments in which the composer creates a lively tapestry by means of varied interwoven threads that mirror the genres of the Italian solo harpsichord repertoire. The work opens with typical descending arpeggio figurations that pass from high to low, and continues with a lively dialogue between the two instruments that leads to a chromatic adagio by means of an unexpected modulation. The composition continues with a sort of canzona, after which the solo violin and cello together create a ricercar in the early style in two sections (the second consists of a brilliant “reversal” of the first) alternating with brief giga sections and ending with a corrente alla francese, followed by an astoundingly audacious variation. © Francesco Cera
Ensemble Arte Musica, founded and directed by Francesco Cera, performs mostly Italian vocal repertoire, from late madrigal to 18th Century cantatas and sacred music. The ensemble has appeared at international music festivals such as Festival of Flanders in Bruges, Resonanzen in Vienna, Barocktage in Melk, Les Gouts Reunis in Lausanne, Tage für Alte Musik in Brandenburg, Monteverdi Festival in Cremona, Accademia Filarmonica in Rome, Milano Arte Musica. They have recorded works of Colonna, Monteverdi, Gesualdo, and Scarlatti for label Tactus, Amadeus and Brilliant Classics. Marco Piantoni after graduating in modern violin and winner of international competitions, he studied baroque violin under Giovanni Guglielmo, Stefano Montanari, and Enrico Gatti. He is entertaining regular collaborations with the baroque orchestra I Turchini, Ghislieri Consort, Accademia Bizantina, Accademia Montis Regalis, L’Arte dell’Arco, Concerto Soave, Accademia Hermans, appearing as soloist at Teatro di San Carlo in Naples, Théatre des Champs Elyseés, Koelner Philarmonie, Wiener Konzerthaus, Festival de Beaune and Festival de Radio France. He has been recording for label Glossa, Dynamic, Deutsche Harmonia Mundi and Sony Music. Nunzia Sorrentino after studying violin at Naples Conservatory and artistic collaboration with renowned composer Roberto De Simone, she studied baroque violin with Enrico Gatti in Milan. She is member of I Turchini conducted Antonio Florio since its foundation, having performed in most of european baroque festivals with them, and recording for Opus 111, Naive, and Glossa. She also collaborates with Ensemble Zefiro and Accademia Montis Regalis, under conductors Alfredo Bernardini, Alessandro De Marchi, Barthold Kujiken and Christopher Hogwood. Rebeca Ferri, after graduating in cello at Conservatorio Santa Cecilia in Rome, she studied recorder with Maria De Martini, Kees Boeke and Han Tol. She followed
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with baroque cello studies, with Anner Bylsma, Roel Dieltiens, and Jaap Ter Linden. She collaborates with Freiburger Barockorchester, La Venexiana, I Turchini, La Risonanza, Ensemble Arte Musica and Pino de Vittorio, performing a vast repertoire including Baroque Operas and oratorios, appearing at major early music festivals in Europe and USA. Rebeca Ferri has extensively recorded for label Opus 111, Glossa, Deutsche Harmonia Mundi, Sony Music and Tactus. Francesco Cera studied organ and harpsichord in his town, specializing in the early repertoire under Luigi Ferdinando Tagliavini and later with Gustav Leonhardt at the Amsterdam Conservatory. He has been member of Il Giardino Armonico, and since 1996 he directs the Ensemble Arte Musica. Francesco Cera has performed as a soloist and leader of Ensemble Arte Musica in international music festivals in Europe and United States. Francesco Cera has recorded for label Tactus, Arts and Brilliant Classics works of 17th century italian composers, and works by Bach, Scarlatti, D’Anglebert, and Trabaci. He is regularly invited to give masterclasses about the Italian organ and harpsichord repertoire by international academies in Europe and USA.
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Also available on Brilliant Classics
Stradella Duets 94343 1CD
Stradella La Susanna 94345 2CD 10
Gesualdo Tenebrae Responsoria 94804 1CD
Stradella Italian Arias 94258 2CD
Recording: 30 May - 2 June 2015, refectory room of the Franciscan Convent, Lustra Cilento, Italy Sound engineer and editing: Luca Ricci, StudioMobile Cover image: Fresco with the apotheosis of St. Ignactius, church of Sant’Ignazio, Rome, c.1690, painted by Andrea Pozzo p & Š 2015 Brilliant Classics
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