Domenico Gallo

Within the first few seconds of the first track–the Sonata No. 1 in G major–most listeners will find themselves in surprisingly familiar territory–surprising because this little-known 18th-century composer seems to have written a popular tune long attributed to Pergolesi, a misattribution given additional false credibility by its use in Stravinsky's Pulcinella. In fact Stravinsky used selections from several of Domenico Gallo's trio sonatas in his famous ballet music, thinking them to be works of Pergolesi because they were published under his name in late-19th century English editions.

London Baroque offers another installment in its ongoing European Trio Sonata series, this time devoted to 18th-century Italy; as with the ensemble’s previous efforts the program features generally excellent performances of lesser-known repertoire. Ten years ago I reviewed a similar 18th-century Italian program by this same group titled “Stravaganze Napoletane”, also on BIS, and was generally impressed with the performances–except for one piece: Domenico Gallo’s Sonata No. 1 in G major.

Igor Stravinsky (17 June 1882 – 6 April 1971) is widely considered one of the greatest and most influential composers of the 20th century. The New Stravinsky Complete Edition (30 CD box set), the most complete survey of the composer’s works ever compiled, has been released to mark the 50th anniversary of his death.

Igor Stravinsky (17 June 1882 – 6 April 1971) is widely considered one of the greatest and most influential composers of the 20th century. The New Stravinsky Complete Edition (30 CD box set), the most complete survey of the composer’s works ever compiled, has been released to mark the 50th anniversary of his death.

Pergolesi’s two settings of the Salve Regina are rather different one from another. That in C minor is darker, more passionate, the string writing (not least at the very beginning) richly expressive; indeed the first of its six movements, is a largo of exquisite beauty, a perfect illustration of a particular kind of baroque beauty, intensely expressive and seeming to hold back a freedom of lyricism which is effectively liberated only in the brief andante which follows. Some of the greatest baroque effects are created by interplay between restraint and excess. This is one of them.

The Neapolitan Domenico Cimarosa (1749-1801) was certainly a prolific composer of operas, having more than 80 titles to his name. Though many have only recently enjoyed a revival, they were widely admired in his day. Cimarosa specialised in comedies, the form known as opera buffa, and his greatest achievement, Il matrimonio segreto, represents the pinnacle of the genre and would influence his contemporaries and generations of composers to come.