Marco Boccia Trio

Siempre que puedo lo voy a ver», escribía hace unos meses Marco Mezquida en su página de Facebook sobre Bill McHenry. «Es muy inspirador y creo que tiene un sonido fuera de lo común, un lirismo y una inventiva sofisticada, siempre sincera y profunda. Es un poeta de verdad que, sin fuegos artificiales, ha desarrollado un discurso inventivo, inteligente y humorístico conectado con un conocimiento profundo de lo que toca.» Talento en erupción de la escena jazzística de Barcelona (debutó en el festival hace años durante un homenaje a Tete Montoliu).

The considerable fame that Bartolomeo Campagnoli (1751–1827) achieved during his own lifetime was largely due to his contribution to violin studies. The 41 Caprices he wrote for viola and the 7 Divertimenti for solo violin are still in use today. Campagnoli’s career as a concert performer began in Rome in 1775, continuing in a long tour of the courts of the capital cities of Europe. In 1797 he was made concert director and first violin at the Gewandhaus in Leipzig, a post that he held until 1818, although he also maintained his contacts with the most advanced and influential cultural centres of Europe. He thus enjoyed a florid exchange with some of the most famous teachers and Nevertheless, there is an unmistakably composers of the time, in particular with Cherubini and Kreutzer. The idea that ‘true expression depends on the sound, intonation, movement, taste and aplomb of the measure’ was a constant tenet with Campagnoli, as was his insistence on the need to understand clearly the character of each piece in order to appreciate to the full the composer’s intentions. All this required respect for the exact point in which embellishments have to be added (without exceeding), because: ‘nothing is more beautiful and moving than what is simple’.

This release is part of an eight-disc series by the small historical-instrument ensemble London Baroque, covering the entire history of the trio sonata in four countries (Italy, Germany, France, and England) over two centuries (17th and 18th). The series is more aimed at those with a strong interest in Baroque instrumental music than at general listeners, but several of them have been attractive for anyone, and this album falls into that group. It might well have come first in a chronological series, for it includes the very first works that might be called trio sonatas, the Sonata a tre of Giovanni Cima, published in 1610, and the Sonata a tre secuondo tono, from 1621.

Alkan’s chamber music deserves much more attention: It’s a crime that terrific works like his Sonate de concert for cello and piano have almost no chance to be heard. Naxos once again has raided the Marco Polo archives and resurrected this 1991 recording. There isn’t much competition available anymore, and only the 1992 Timpani recording has the same three works together in worthwhile performances. These pieces are all excellent chamber music, not to mention very difficult to play, and the Trio Alkan certainly is up to the challenge. These performers obviously appreciate the music in a way that brings out Alkan’s lyrical and whimsical qualities, which often are overlooked (or overpowered) in his piano works.