The notation of the piece - as in the case of Galuppi in general - is extremely rich in performing instructions: thanks to the legato, staccato, pizzicato and other dynamic instructions it comprises, in fact, bowing. This meticulous care is exceptional in Galuppi's autograph manuscripts (which are otherwise difficult to read). On the other hand, Caffi's biography of Galuppi makes us acquainted with the tribute Buranello paid to the Venetian instrumentalists "these beasts who are unaware of their magnificence". (from booklet)
Galuppi's score is tuneful and amusing, if not profound – and the libretto by Goldini is really just a farce. It is given a spendid performance by relatively unknown forces, who are all amazingly good – enough to make me look up whatever else they may have recorded. This is a studio (actually a church) recording, rather than a live performance, and is in a much clearer rendition than is common to this sort of music. All together, an excellent set, which promises to give great pleasure over long periods of time.
Baldassare Galuppi was born in Burano (one of the islands of Venice's estuary) on October the 18th 1706, the same year when — in Venice's theatres — the works of Antonio Lotti, Francesco Gasparini, Antonio Caldara and Giovanni Bononcini had great success. During that period the programmes of the biggest theatres (San Giovanni Grisostomo, Sant'Angelo, San Cassiano) were full of promises for the audience that were not only keen on entertainment but also sensitive to the art as well as suggesting new targets and providing a considerable income to the musicians…
In his book Capitalism and Freedom, neo-liberal/conservative economist Milton Friedman wrote that all the great accomplishments in history "were the product of individual genius." He continued to say that " the specially talented are always few." Presumably, Friedman included himself among those few, but he of all people might have had the modesty to acknowledge his co-workers, particularly since most of his books are co-authored. But Friedman suffered from "Ayn Rand Syndrome," one of the leading causes of incurable egomania in the modern world. Friedman was dead wrong, and in this case Tolstoy was right. The 'great men' of history have not be so much self-made as made despite themselves…
In his lifetime, Baldassare Galuppi was a well-known and popular composer across Europe. He wrote a hundred and ten operas for performance in the London theatre and at the court of Catherine II in Saint Petersburg, as well as in Florence and Venice in his native Italy. He was also a noted harpsichordist and kapellmeister. These two CDs are the first complete recording of his harpsichord concertos.
A celebration of instrumental Baroque splendour! This set present an anthology of Italian Baroque composers, featuring their instrumental output. Obviously the famous composers have their fair share: Vivaldi, Albinoni, Locatelli, Corelli, but also lesser known composers are featured: Barsanti, Bassani, Veracini, Nardini, Stradella, Vitali, Mancini, Platti, Legrenze and many more, over 30 composers! Performances by leading ensembles specialized in the Historically Informed Performance Practice: L'Arte dell'Arco/Federico Guglielmo, Ensemble Cordia/Stefano Veggetti, Violini Capricciosi/Igor Ruhadze, MusicaAmphion/Pieter Jan Belder and many more. A treasure trove of solo concertos, concerti grossi, sinfonias, overtures, trio sonatas and solo sonatas from the Golden Era of the Italian Baroque, era of joy, passion and brilliance!
Venetian composer Baldassare Galuppi’s reputation rests principally on his pioneering series of comic operas. But, trained by Antonio Lotti, Galuppi was also a keyboard player of distinction who served at the court of Catherine the Great in St Petersburg. Twelve keyboard sonatas were published during his lifetime, but Hedda Illy’s catalogue lists over 100 and reveals that Galuppi not only inherited the brilliance and panache of Domenico Scarlatti but anticipated the expressive writing of Mozart. The first volume in Matteo Napoli’s series (8.572263) was commended as “a good choice for connoisseurs of 18th century keyboard music.”
When the music of Vivaldi was rediscovered, about fifty years ago, only his instrumental music was performed. It took some time to discover that the master of the Italian concerto had also composed religious music worth performing and recording. Since then some of his religious compositions have reached considerable popularity. Among Vivaldi's religious output there are quite a number of works for the Vesper liturgy. 'Dixit Dominus', a setting of Psalm 110 (109), is one of them. So far two settings of this text by Vivaldi are known, RV 594 and 595. The RV number of the setting recorded here seems to show that it is a late discovery and was only recently added to the catalogue although the booklet doesn't quite make clear whether this piece was known before or was only discovered recently. It is clear, though, that it wasn't immediately recognized as a composition by Vivaldi, as in the manuscript it was attributed to Baldassare Galuppi. In the 1750s or 1760s the Roman-Catholic court in Dresden was looking for new religious music from Italy. Scores were ordered from the best-known copying shop in Venice, which was owned by a priest, Don Giuseppe Baldan. He sent some pieces by Vivaldi, but attributed them to Baldassare Galuppi, by then the most famous composer in Venice, and generally known by his nickname, 'Buranello'. This 'Dixit Dominus' was only identified as a work by Vivaldi in 2005 by the Australian scholar Janice Stockigt. It is one of four compositions by Vivaldi from the Sächsische Staatsbibliothek in Dresden which are falsely attributed to Galuppi.
Between 1990 and 2000 Ilario Gregoletto recorded four CDs of harpsichord sonatas by Baldassare Galuppi (1706-85) for the small Italian label Rivoalto. Newton Classics now reissues the discs together as a budget-priced set. The booklet notes are not completely clear in regard to the sonatas’ numbering, apart from mention of cataloging systems by Hedda Illy and Fausto Torrefranca. In any event, all but one of these 25 sonatas follow a three-movement scheme, and each is marvelously varied in mood and texture.