Torelli, Mossi, Valentini, Locatelli, LeoConcerti
Musica Antiqua Köln, Reinhard Goebel
Archiv 435 393-2
Even the most assiduous collectors and discerning connoisseurs of baroque concertos are likely to find some novelties in this unusual programme from Cologne Musica Antiqua. Three of the concertos belong to the Roman school (Mossi, Valentini and Locatelli), though the latter shows marked Venetian leanings, both in his adoption of a three-movement structure and in details of style, while the remaining two are products of Bologna (Torelli) and Naples (Leo). In his interesting introductory note the ensemble's director, Reinhard Goebel, provides a lively and characteristically idiosyncratic commentary on the pieces and their background, but arrives at the conclusion that ''in the last analysis the composers fall foul of their chosen instrumental forces: four violins of equal status proved to be a medium for which interesting curiosities can be written, but not great music sustained at any length''. In the case of the five concertos played here I am inclined to agree with him. However, the generalization should not be allowed to pass without censure since Vivaldi succeeded very well in writing for four violins as the Tenth Concerto of L'estro armonico unequivocally demonstrates. Goebel does rather grudgingly, perhaps, admit this later in his essay.
Whatever the doubts may be concerning the intrinsic merit of these works, they nevertheless provide a fascinating glimpse of what composers other than Corelli on the one hand or Vivaldi on the other were up to. The Concerto in E minor by Torelli is not as innovative as the six works with solo violin from his Op. 8, but it has a wellconstructed fugal second movement and a finale containing melodic material which perhaps hints at folk derivation. In the Mossi (c. 1700) and Valentini concertos, perhaps the most interesting pieces here, there is an effective freedom of part-writing within fairly restricted technical boundaries, though I should add that there are, too, brief virtuosic passages for cello in the finale of the Mossi.
Goebel who, alas, was unable to play the violin himself in this recording following an injury to his arm, directs effectively, pointing up the rich and contrasting textures present in much of this repertory. The opening Largo and ensuing fugue of the Valentini are striking examples of this. Locatelli and Leo are better known and their music brings an altogether later rococo airiness to the programme. Perhaps Goebel would now consider letting loose his excellent cellist, Phoebe Carrai, on one or more of Leo's cello concertos. In short, a fascinating programme, played with zeal and precision. Recommended.'
Nicholas Anderson, Gramophone Magazine
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