Texte paru dans: / Appeared in:
Early Music Today (03-05/2014)
Glossa
GLO921208
Code-barres / Barcode : 8424562212084
The
l7th-century violin repertoire of sonatas, chiaconas, toccatas and
diminutions is here surveyed with a continuo team of dulcian, theorbo and
organ. The set up is ideally conceived to throw into relief the emerging
emancipation of treble and bass lines from polyphonic texture, with Elena
Bianchi’s dulcian embroidering the bassline with bite and elegance. Ensemble
Aurora is firm about the importance of using a full organ, rather than a
positive or chest organ in this repertoire, and an Italian full organ at
that. They point out that the muted bourdon stop was not introduced into
Italy until very much later, Italian builders preferring the foundation
stops based on the principale; and that this early basso continuo
depends on the specific characteristics of the Italian full organ for its
effect. The organ chosen here is a 1647 Luca Neri in the collegiate church
of San Nicolò in Collescipoli. It is certainly strident and flavoursome, and
mostly highly effective, though the chordal accompaniment to Antonio
Bertali’s solo violin ‘Chiacona’ is rendered heavy and clunky, and some
intonation issues arise between organ and violin. Impressive playing,
however.
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