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Reviewer: David
W. Moore These are the 11 Capriccios by Joseph Marie Clement Ferdinand Dall’Abaco (1710-1805), alias Giuseppe Clemens and not to be confused with his father, Evaristo Felice Dall’Abaco (1675-1742). They have been recorded twice before and are worth searching for since the musical content is comparable to Bach’s solo cello suites. The previous recordings are by Kristin von der Goltz (Raum Klang 2503; J/A 2007) and by Charlie Rasmussen (Centaur 3649; Nov/Dec 2018). The reason these pieces have not become staples in our repertoire is that the only source is a rather scrappy 19th Century copy that doesn’t complete Capriccio 11 and probably should have contained another one, since everybody left music in multiples of six in those days. The copy also doesn’t include titles for the pieces or indications as to tempo, so it’s up to the performers.
Galligioni takes a dancier approach than his predecessors and is the most effective in making them pleasurable to the brain as well as the ears. He includes his title choices in the liner list so we can see where he is going. He took the liberty of transposing Capriccio 8 to a key that would be easier to play it in. He also pulls the music together with the dance choices, making the whole structure work better by playing faster and more rhythmically. It’s a little scary that his timing for all of this is only 39 minutes compared to the previous recordings at about 56 minutes. Yes, he takes all the repeats and does not sound rushed.
So what happens on the other 13 minutes of the new program? No, it isn’t listed on the cover or in the liner list, but after each two of the Capriccios is inserted a transcription of movements originally for flute solo by one Jean-Daniel Braun, an early 1700s composer not unlike Dall’Abaco. These pieces were published in Paris in 1740 along with Braun’s own transcriptions of them for bassoon. This gives a sonic right for them to be played on the cello, done with aplomb by Galligioni.
The liner notes for this release are by two Francescos, Passadore and Galligioni, and cover the same general material in different ways. All is in English. This is the most convincing recording of the Dall’Abaco pieces. It is beautifully played and interpreted and recorded and I hope Galligioni gets these difficult-to-find works published so my students can tackle them. | ||||
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