Brescianello: Concerti, Sinfonie, Ouverture - La Cetra BO, Luks

Giuseppe Antonio Brescianello
Concerti, Sinfonie, Ouverture
La Cetra Barockorchester, David Plantier, Václav Luks
Glossa GCD 922506

One part of Glossa’s new approach to recordings with the Schola Cantorum Basiliensis is to bring back selectively into the catalogue some of the recordings made under the auspices of the SCB in the past. Among the many notable recordings, a strong impression was made with the music of Giuseppe Antonio Brescianello as played by La Cetra Barockorchester Basel when it had David Plantier as its konzertmeister. This recording was made with Harmonia Mundi France in 2002.

Brescianello comes from the time of an illustrious generation of composers active in the first half of the 18th century, being born a few years later than figures such as Bach, Handel, Telemann and Rameau. Hailing from Italy he spent much of his active career as the kapellmeister at the southwestern German Württemberg courts of Dukes Eberhard Ludwig and Karl Eugen in Stuttgart. The Baroque Concertos and Sinfonias (and a Chaconne) performed by La Cetra demonstrate Brescianiello’s command of music from his own country (there are certain echoes of Vivaldi, for example) and also of the French orchestral language in the tradition of German composers of the time. Much of Brescianello’s biographical origins and of his compositions has been lost, which has forcibly hindered previously either a full evaluation of his musical merits or merely placing him in the context of other Baroque luminaries.

La Cetra’s recording, played with skill, musicality and spirit, sought – in the best traditions of the SCB – to do something about that unfortunate historical assessment and it is a pleasure to welcome this recording back into the catalogue.

Brescianello: Concerti et Sinphonie - Banchetto Musicale

Giuseppe Antonio Brescianello
Concerti et Sinphonie
Banchetto Musicale
Dynamic CDS 291-1-2

Here's a wonderful discovery: Brescianello spent most of his career in Germany, at Munich and at Stuttgart but his concerti (all with solo violin) and his shorter symphonies all have the verve, dynamism and solo virtuosity of Vivaldi who is a clear influence. The symphonies (published in 1738) are among the first examples to have been published in Europe and, like G.B. Sammartini's, present the archaic structure in which the slow movement often is no more than a bridge between the outer, fast movements.

Recordsinternational.com

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