2 Cellos

The English, historical-instrument, Baroque ensemble La Serenissima (the term was a nickname for the city of Venice) has specialized in somewhat scholarly recordings that nevertheless retain considerable general appeal, and the group does it again with this release. The program offers some lesser-known composers, and some lesser-known pieces by famous composers like the tiny and fascinating Concerto alla rustica for two oboes, bassoon, strings, and continuo, RV 151. What ties the program together formally is that it covers a range of Italian cities that were becoming cultural centers as they declined in political power: not only Venice (Vivaldi, Albinoni, Caldara), but also Padua (Tartini), Bologna (Torelli), and Rome (Corelli). There are several works by composers known only for one or two big hits, and these are especially rewarding. Sample the opening movement of Tartini's Violin Concerto E major, DS 51, with its unusual phrase construction and daringly chromatic cadenza passage: it has the exotic quality for which Tartini became famous, but it does not rely on sheer virtuosity. That work is played by leader Adrian Chandler himself, but he also chooses pieces for a large variety of other solo instruments: the Italian Baroque was about more than the violin. Each work on the album has something to recommend it, and collectively the performances may make up the best album of 2017 whose booklet includes footnotes.

This is a beautiful CD. On it is a collection of some of Vivaldi' best concertos played on authentic instruments with light, transparent textures, brisk tempi and real excitement. An absolute delight!

The influence of Mendelssohn (and Schumann) on the music of Gade is well-attested to and it is readily apparent in the works presented here; indeed, one would hardly imagine Gade turning to the rarely found genre of the string octet without the relatively recent precedent of Mendelssohn's own youthful masterpiece. It is a work of Gade's youth too - albeit not the product of an artistic prodigy - and dates from the period when the Danish composer's inspiration was still fired by the Early Romantic movement.

After a double album dedicated to Boccherini and acclaimed by critics, Ophélie Gaillard and the Pulcinella Orchestra reveal the incredible sound palette of Vivaldi, one of the most brilliant venetian musicians. Drawing on the finest cello works of the composer, Ophélie Gaillard’s selection places great emphasis on the concerto, for one, two or even four performers. It also includes an exclusive reconstruction of the Concerto RV 788. The vocal interventions of Lucile Richardot and Delphine Galou light up the program like rays of sun through the clouds. The album alternates between moments of great emotion, sometimes even dolorous as in the Largo of the Concerto RV 416 and moments of passion and frenzy (in the concertos RV 419 or 409) that evoke the Summer from the Four Seasons. This music thus unveils all its mysteries in the interplay of lights and shadows, giving its name to this recording.

“Out of the Darkness” is a brand new secular cantata for mezzo-soprano, two cellos and eight voices, written by Julian Marshall. The inspiration for the piece is based on the poem “Aus dem Dunkel” (Out of the Darkness), by Gertrud Kolmar. Kolmar lived in Berlin for much of her life, but was transported to Auschwitz in 1943, where she perished. Her poetry is strikingly full of life – colour, vibrancy, deep sensation - and “Aus dem Dunkel”, is surely one of the most beautiful. Written in 1937 the poem evokes powerful dream like images of crumbling and decay - serving as an eerie foretelling of the imminent tidal wave of horror about to hit the world.