il Gardellino

Johann Friedrich Fasch might, on the surface, seem like the very model of a minor Baroque composer. Settling in a post in the remote Saxon town of Zerbst in 1722, Fasch labored there for 36 years, producing over 100 orchestral suites and at least 63 concertos in addition to other kinds of works. The only prominent exposure Fasch has enjoyed in modern times is through a couple of concertos included on the famous "purple Pachelbel" recording circulated by RCA Victor and featuring Jean-François Paillard and his orchestra. These were so-so concertos, and their inclusion didn't necessarily help the reputation of the composer.

In 1764 a couple of German musicians lodged together in London. They shared a sort of common background, for one was the youngest son of Johann Sebastian Bach, newly arrived in town to write opera, and the other, Carl Friedrich Abel, had been Bach’s student back in Leipzig more than a decade earlier. He was in town to make his living as a composer of instrumental works and as a performer on that now-anachronistic instrument the viola da gamba. The two apparently hit it off quite well, for they soon conspired to develop the famed Bach-Abel concert series that became a fixture in the city for more than a decade and a half. Given that they also contrived to perform as well, it is not surprising that both men created a wide variety of works for their instruments, Bach on the keyboard and Abel on his gamba.

“Full of fire, spirit and life.” is how Mozart described this work of his contemporary, presented here for the first time on this new 2CD set. Mozart’s positive verdict on Josef Myslivecek (1737-1781) was intended to make the listener aware, for the fact that the extremely critical Salzburg composer expresses himself positively about a colleague is an absolute exception. His oratorio Adamo & Eva, performed in Florence in 1771, was composed at precisely the time when contact with the Mozart family seemed to have been particularly close.

Handel's Dixit Dominus HWV 232 (1707) is certainly one of the most impressive compositions of his several years in Italy. With this extremely effective piece, the only 22-year-old obviously wanted to demonstrate all of his compositional skills. Il Gardellino and Bart Van Reyn accompany him on their recording with the breathtaking cantata Il Pianto di Maria, which was long attributed to Handel until recent research has shown that it was penned by the Italian composer Giovanni Battista Ferrandini (1710-1791).

Franz Benda (1709-1786) worked for much of his life at the court of Frederick the Great. He was a prolific composer but very few of his works were published. His brother Georg (1722-1795) received a similar education as choirboy, violinist and harpsichordist. Il Gardellino was founded in 1988 and its members are specialists in performance on early instruments.

The story of the liberation of the Israelites from their enslavement in Egypt, as told in the Book of Exodus, has often been set to music. The works by Telemann and Rolle recorded here are based on this subject and partly even on the same libretto. And yet these two composers, separated by only one generation, handle this topic in remarkably different ways.

Johann Gottlieb Graun and his slightly younger brother Carl Heinrich Graun both worked in the Berlin-based court of Frederick the Great, whose musical cabinet also included Carl Philipp Emanuel Bach. Superficially, the music of the Grauns can seem similar enough that in terms of attribution, their works are often confused, particularly when "Graun" is the only name provided on a given manuscript. Curiously, at least concerning the track listing, Accent does not try to identify which of the four concerti on their Graun: Concerti belong to Johann Gottlieb and which to Carl Heinrich. When one gets a little deeper into the notes, the truth is known – the first concerto, in A major for viola da gamba is by Johann Gottlieb, and the other three are the work of Carl Heinrich.

Two years after her recording of Mozart's piano concertos KV 271 and KV 459, Olga Pashchenko returns to the Il Gardellino ensemble for the concertos KV 466 and KV 488. KV 466 is in D minor, a key that Mozart often uses to express the anger of his female characters in his operas. KV 488 was composed a year later in 1786 and is in the luminous key of A major, although without losing any of the theatrical dynamism of KV 466. They represent an almost dramatic, pre-Romantic theatricality for Nicolas Derny, who sees these concertos as the precursors of two of Mozart's greatest masterpieces: the Requiem and Le nozze di Figaro. Olga Pashchenko here plays a replica of an Anton Walter fortepiano (ca. 1792) built by Paul McNulty.