Symphony No. 5 in F major, Op. 1
Concerto for violin, oboe, strings & continuo in G minor
Violin Concerto No. 4 in E minor, Op. 1
Ouverture for 2 oboes, 2 violins, viola & continuo in G minor
Symphony No. 1 in D major, Op. 1
Concerto for violin, bassoon, strings & continuo in B flat major
Chaconne for 2 violins, 2 violas & continuo in A major

La Cetra Barockorchester Basel
Leit. David Plantier & Vaclav Luks

Brescianello was an Italian composer who spent many years working in Stuttgart. There is only one published work, Opus 1, but other unpublished manuscripts have been recently discovered.

This CD has 3 of the published works and 4 of the rediscovered, two sinfonie for two violins, viola and basso continuo; three concertos for violin, violin and oboe and violin and bassoon; an overture and finally a chaconne. This makes for a nicely varied program. The two sinfonies and the three concertos are very much in the Italian style of Vivaldi, although the cadenza in the third movement of the concerto for violin and oboe seems a bit out of place, we are not told if this was by Brescianello or by the soloist, David Plantier. The overture is in the French style, but sounds like it was written by an Italian, rather than a German such as Telemann. The cover notes say that the chacone is a tribute to Muffat, but it doesn't sound like the only Muffat I have, which is fortunate, as that is a set of six boring concerti grossi.

All the works are melodious and joyful, they will easily hold your attention, and are very well played by La Cetra Barockorchester Basel. The sound is excellent. I have no hesitation in giving this CD a strong recommendation and five stars.

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CD 1

Concerto I in F major
Sinphonia I in D major
Concerto II in A minor
Sinphonia II in G major         play
Concerto III in B flat major
Sinphonia III in C major

CD2

Concerto IV in E minor
Sinphonia IV in B flat major
Concerto V in C minor
Sinphonia V in F major          play
Concerto VI in A major
Sinphonia VI in E flat major

Banchetto Musicale:

Maria Paola Cavallini first violin
Laura Mirri, Yayoi Masuda
Silvia Colli, Paola Nervi, violin
Maurizio Barzone, viola
Andrea Fossà, cello
Francisco José Montero, violone
Carlo Andrea Giorgetti, chitarrone
Daniele Boccaccio, harpsichord (CD1)
Andrea Perugi, harpsichord (CD2)

Giuseppe Antonio Brescianello was born around 1690 in Firenze, (Florence), and died in 1758 in Stuttgart. Virtually nothing is known of Giuseppe until 1715 when he went to Munich as a viola player in the service of court chapel. A short time afterwards, he went to Stuttgart where he remained for the rest of his career.

He invigorated musical life in Stuttgart. His contemporaries praised his chamber works. The music of Brescianello shows great sense of melody, profound harmonic imagination combined with strong rhythmic element so typical to Italian school of the time. However Brescianello was able to adopt features of French and German music as well.

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1. Concerto for oboe obbligato bassoon & b.c. in C minor
I. Largo - 0:05
II. Allegro - 2:49
III. Largo - 6:43

Giuseppe Nalin – oboe
Paolo Tognon – bassoon
Pierluigi Polato – archlute
Lorenzo Feder – harpsichord
Ensemble Barocco Padovano Sans Souci
Giuseppe Nalin – conductor

2. Concerto for violin oboe strings & b.c. in G minor
I. Allegro - 0:04
II. Grave - 3:24
III. Allegro - 5:39

Katharina Arfken (oboe)
David Plantier (violin)
Eckhard Lenzing (bassoon)
Plamena Nikitassova, Dorina Mangra (violin I & II)
Salome Janner, Andreas Torgersen (viola I & II)
Katharina Gohl Moser, Maya Amrein (violoncello)
Ludek Braný (violone)
Vaclav Luks (harpsichord)
Evangelina Mascardi (theorbo)

La Cetra Barockorchester Basel Vaclav Luks (conductor) 3. Concerto a tre in do minore Ensemble L'aura Soave Cremona: Nicholas Robinson - violin Sergio Azzolini - bassoon Davide Pozzi - harpsichord Diego Cantalupi - lute

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Disc 1
1.Ouvertüre
2.Bella notte, al tuo solingo (1. Akt)
3.Da te, che sei d'amore
4.Chi potea contro la fede
5.Ma s'io non erro è quella
6.Pur la nostra capanna or rivedremo
7.Non sempre l'audace
8.Ormai, compagne care
9.Triforme dea
10.Mi tradiste, speranze!
11.Il vedere altrui dolente
12.Forz'è ben che l'ignota
13.L'amare è follia
14.Io vo' l'ozio tranquillo
15.Me felice! Ecco Tisbe
16.E un sereno lusinghiero
17.Dimmi, vedesti, amica
18.Van del pari e l'onda, e il fuoco
19.Fresco rio mi vien cercando (2. Akt)
20.Questo è il fonte che bagna
21.Al tenero nome in cui sospiro
22.Come al nido la rondinella
23.Sei tu, grand'ombra augusta
24.Pace, pace a due miseri amanti 

Disc 2
1.Anni ed anni in libertà
2.Oh maledetto arrivo
3.Cari orrori
4.Pastorella, aita...
5.Due timori al cor mi sento
6.Possano i loupi un dì mangiar costei
7.V'era augeletto e v'era
8.Che favole! Son morta
9.Villanella scortese
10.Fiero leon, sbramani omai
11.Questo appunto è quel loco
12.S'ingombri la selva
13.Questo è sangue, ahi, di chi vene? (3. Akt)
14.Sì, sì, purtroppo è vero
15.Avrò cor di riminarvi
16.Dal monte al piano e in ogni selva io corsi
17.Non è fede esser crudel
18.Alceste, o tu mi lascia
19.Son costante, e non crudel
20.Dunque a sceglier mi sforza
21.M'ha giurato amore ingrato
22.Ah, se cor tu chiudessi
23.Io ti prometto un cor
24.Belle reliquie e care, e dove siete?
25.Non turbarti, alma innocente
26.Che temi, alma codarda?
27.Ahi, pur troppo fia vero!
28.Apri i lumi moribondi
29.Odo d'intorno un lamentar pietoso
30.Di più bell'alma e pura
31.O degni, a cui sia più propizio amore! 

Matteo Bellotto 	Bass (Alceste)
Flavio Ferri Benedetti 	Alto (Licori)
Nina Bernsteiner 	Soprano (Tisbe)
Jacopo Martello 	Librettist
Julius Pfeiffer 	Tenor (Pyramus)
Il Gusto Barocco 	Choir/Chorus
Barockorchester Stuttgart
Jörg Halubek 	Conductor, Harpsichord

An opera was prepared for performance at the court of Duke Eberhard IV Ludwig of Württemberg at the end of 1718. The duke had ordered that it be performed to conclude the Carnival season 1718 / 19 and commissioned his Italian court composer A. G. Brescianello to write a work for this occasion. The action is based on the popular tale of Pyramus and Thisbe, a source of inspiration for Shakespeare's Romeo and Juliet. During the seventeenth century opera productions were regarded as a principal means of magnificent court display. It was thus that a spectacular opera was produced, situated in the vicinity of Vivaldi, Scarlatti, and Handel and requiring virtuoso castrato artistry for its dramatic coloraturas and heartrending laments. Il Giusto Barocco has rediscovered Brescianello's opera Tisbe in the holdings of the Württemberg State Library, submitted it to musicological examination, and now once again rendered it performable. Musically, this work represents a high point in Stuttgart court culture between 1700 and 1750. Following the concert premiere in 2012, Opernwelt wrote, »Jörg Halubek and the ensemble Il Giusto Barocco founded by him demonstrate with vibrant, supple […] playing that they now have a place in the first ranks of German baroque orchestras.« ---jpc.de

The music of Giuseppe Antonio Brescianello has reached few ears in modern times. It may therefore come as a surprise to find that not only is his music of the very highest standard – fit to rub shoulders with the likes of Bach, Handel and Vivaldi – but also that his only opera is a candidate for nomination as the finest baroque opera ever written. We think that his early career was spent in Venice before he was employed by the Electress of Bavaria as a violinist at the court in Munich. He subsequently moved to the Württemberg court in Stuttgart where he dedicated his opera pastorale to his employer, Duke Eberhard Ludwig, in January 1718. The tells the story of Pyramus (tenor) and Thisbe (soprano), and the ill-fated lovers are joined by two other characters who comment on the proceedings, Licori (contralto) and Alceste (bass). In addition, there is a chorus which closes Acts 1 and 2; the orchestra is made up of strings, recorders, oboes, bassoon and horns. The tunes are of the highest quality and the limited amount of recitative ensures that the dramatic pace is strong. The opera concludes most unusually with a recitative which follows a beautiful duet for Tisbe and Pyramo. We are uncertain as to whether a final chorus or even a balletto was supposed to draw an end to the proceedings. ---laserenissima.co.uk

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