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Reviewer: Rob
Haskins Since around 1985, we’ve reviewed only one other release by Domenico Alberti (1710-17), a disc of violin sonatas (M/A 2001). He was a harpsichordist and singer who often accompanied himself. His sonatas (which the scholar Michael Talbot claims probably came from his later years) abound with ingratiating, tuneful melody and a left-hand accompaniment of broken chords, the most famous of which bears the name “Alberti bass”. Talbot sums up this music as follows: “Alberti’s galant idiom, much admired as a novelty in its day, proves an adequate vehicle for musical thought that is sometimes facile and short-winded, though not lacking in taste and workmanship.” It never seriously occurred to me that Alberti would use his eponymous accompanimental pattern almost ceaselessly—that is, until I heard these convincing performances. Every now and then he will break from it and also introduce a melody more poignant and more memorable (as in a Sonata in E and A that appears at the end of the second disc). But most of the time the music is bland and banal—acceptable as a historical curiosity, probably effective as a teaching tool, but hardly the sort of stuff one would want to listen to more than once. You have been warned. | |
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