Brescianello: Concerti, Sinfonia, Ouvertures - Plantier, Luks

Giuseppe Antonio Brescianello
Concerti, Sinfonia, Ouvertures
La Cetra Baroqueorchestra Basel, David Plantier, Vaclav Luks
Harmonia Mundi HMC905262

Classics Today rating: 9/10
Sankerib's personal rating: 100/100 on the same scale

Huge thanks to the dear friend who helped me get this rare copy.

Other than his approximate birth date (c. 1690) nothing is known of Italian composer Guiseppe Antonio Brescianello until he arrived in 1715 as a violinist for the Elector of Bavaria in Germany, where remained for the rest of his life. Here he built his reputation more on performing and conducting (by all accounts he almost single-handedly rejuvenated musical life in Stuttgart during his tenure there), though he composed a few instrumental works as well. If the selections offered here by the La Cetra Barockorchester Basel is representative, Brescianello stylistically remained firmly rooted in Italy, and Vivaldi seems to be his primary influence.

For example, the first-movement Allegro and final Presto of the fifth Sinfonia, the Rigaudon of the Overture in G minor, and the Presto of the first Sinfonie all feature stirring string displays set in rich harmonic and melodic writing that's typical if not fully worthy of the master. Brescianello also has a keen understanding of Vivaldi's often-shameless methods to evoke sentimentality in quieter passages. The Aria: Siciliana Adagio of the aforementioned Overture, the Adagio of the Concerto in B major, and especially the Adagio: Piano e staccato (with Le Cetra director/first violinist David Plantier's sinewy violin line set amid "touching" string pizzicato) are among the loveliest examples.

While every movement here is certainly inspired and well crafted, the final Allegro of the Concerto in G minor features a striking interlude more typical of Brescianello's earlier Bohemian contemporaries--Biber, Schmelzer, Bertali, et. al.--of the northern violin virtuoso school than of Vivaldi. About halfway into the piece, Plantier breaks into a nearly two-minute solo cadenza. Regardless of how much of this often-thrilling extended passage is attributable to Brescianello and how much to Plantier's informed-though-playful imagination, it's great fun and once heard undoubtedly will not soon be forgotten. Harmonia Mundi's crisp yet full-bodied sound is outstanding.

Listeners interested in more Brescianello are encouraged to acquire Banchetto Musicale's equally stunning two-CD cycle of the composer's complete Op. 1 Concertos and Sinfonias on Dynamic. Though there is some duplication (the first and fifth Sinfonias and fourth concerto), Baroque enthusiasts hardly can go wrong with either program. Highly recommended. [7/8/2004]

John Greene, ClassicsToday.com