Luca Donzelli & Mar t Tarabaralla

The autograph reference “Per la Sig.ra Geltruda” on the manuscript of Vivaldi’s motet “Clarae stellae, scintillate” has long aroused the curiosity of researchers. By years of research around the Vivaldi expert Michael Talbot is now revealed who this “Signora Geltruda” is: Geltruda della Violetta was a girl from the Venetian orphanage La Piet , where Vivaldi worked for over a decade. Geltruda probably had an exceptionally beautiful voice that quickly attracted the interest of important personalities.

The Accademia Arcadia was flourishing in Rome at the time Andrea Stefano Fiorè, one of Italy’s true child prodigies, was there. The wide variety of stylistic influences and superlative quality of his cantatas, from lyrical simplicity to daring harmonic experiment, are confirmation of Fiorè’s uniquely poetic talent. Giovanni Antonio Giay succeeded Fiorè in service at the royal court in Turin, and these world première recordings together reveal musical treasure of great value, sublimely documenting the extraordinary musical sensitivity of these rarely heard composers.

Marco Enrico Bossi gained fame as one of the most influential Italian organ virtuosos of his day, and as a composer who helped lay the foundations for a new tradition of instrumental music in a country dominated by opera. Bossi’s First Violin Sonata has cyclical forms and a density of ideas that put it in line with César Franck’s famous sonata, with melodies as expressive as those of Rachmaninov. The Second Violin Sonata recalls a Classical style that refers more to Beethoven and Brahms while displaying the eloquence of Bossi’s personal idiom. Both of these works reveal a composer whose chamber music stands equal to the most renowned works produced in the late 19th century.

Christoph Graupner was born Kirchberg, Saxony. Due to an unfortunate combination of circumstances his work has fallen into almost total oblivion, yet he was one of the most important composers of his time. He spent nearly 50 years of his life at the Court of Darmstadt, as Hoffkapellmeister. Among his friends and admirers were the composers Georg Philipp Telemann, Johann Mattheson, and Johann Friedrich Fasch, who was also his pupil. Thanks to his studies in Leipzig, from childhood on Graupner was in contact with musical contemporaries, including Johann Schelle and Johann Kuhnau, predecessors of Johann Sebastian Bach at the Thomaskirche (St. Thomas church).

We don’t know much about Carlo Sturla, not even the dates of his birth and death, and he is absent from Google – quite an achievement! The sole reference to him is in the register of the Convent of Santa Brigida belonging to the Sisters of the Sacred Heart. Sturla worked here, but apparently his assiduous attendance upon and training of the young women under his tutelage was viewed with some suspicion.

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