Giovanni Battista Sammartini: Sacred Cantatas (Concerti: Maria Addolorata; Il pianto di San Pietro)
Giovanni Battista Sammartini: Sacred Cantatas (Concerti: Maria Addolorata; Il pianto di San Pietro)
表演者: Silvia Mapelli/Ainhoa Soraluze/Giorgio Tiboni/Capriccio Italiano Ensemble/Daniele Ferrari
流派: 古典
专辑类型: 专辑
介质: Audio CD
发行时间: 2006-04-18
唱片数: 1
出版者: Naxos
条形码: 0747313243228
专辑简介
BBC Music Magazine 2 stars: "Unlike his elder brother Giuseppe, who travelled and who became Handel’s oboist in London, Giovanni Battista Sammartini remained in Milan all his life. Giovanni Battista’s style embraces the early and mid-Classical idiom developed in part by the Mannheim symphonists. Indeed he played an important part in the formation of it. The relatively few discs of his music that have been issued in the past have featured mainly his chamber music and his symphonies. Now comes a recording, claiming with some justification to be a world premiere, of Sammartini’s sacred cantata Il pianto degli Angeli della Pace (The Tears of the Angels of Peace). It is an attractive work with arias, terzetti and a pleasing introductory sinfonia. Alas, notwithstanding a handful of strong contributions, notably from Silvia Mapelli and an unidentified viola player who provides an eloquent obbligato in her aria ‘Rasserenate il ciglio’, the performance is rough and not always very ready. Though the vocal timbre of the solo tenor is hard and somewhat unyielding the chief culprit here is the scratchy and seemingly under-prepared chamber orchestra; indeed a passage in the above-mentioned aria is so ill-tuned and ragged that I am astonished it was not rectified. A pity, since Sammartini’s cantata is well worth the interest that these artists have taken in reviving it, the three extended arias being of particular merit. The Symphony appended to the main work fares only marginally better." Nicholas Anderson
Gramophone Magazine Feb. 2005: "The text for Il pianto degli angeli della pace (1751) speaks of blood and violence, but the Introduction only hints at the subject matter. Not that odd in the circumstances; this Lenten cantata was written to entertain wealthy opera-goers who entered a congregation because theatres were closed until Easter. So although the words are a reaction to, and commentary on the Passion, the form is operatic with an overture, three voices in ensemble, or singly in recitatives or da capo arias. The work is only one of eight that has survived out of more than 200 of its kind that Sammartini composed for performance at the church of San Fedele in Milan.
The vocal writing is more dissonant and dramatic than the instrumental introduction would suggest; but Daniele Ferrari doesn’t quite match the intensity that the soloists, soprano and tenor in particular, bring to the words. He tends to be an accompanist rather than participant; and his contribution, though always considerate, is somewhat lightweight. The recording is good though the timbres of oboes and horns aren’t distinctive enough.
Sammartini authority Bathia Churgin believes the composer to be ‘the finest symphonist before Haydn’ and this three-movement example (its middle movement is marked Allegrino, a north Italian term for Allegretto) dates from the late 1760s/early 1770s. The sound here is finer but, once again, Ferrari blends the oboes and horns into the string texture, blurring instrumental colour and blunting rhythmic definition. The conducting is deferentially elegant but far from trenchant." Nalen Anthoni
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曲目
Allegrissimo