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Reviewer: John
W. Barker
Now here’s a really obscure
composer for us all. You are not likely to find other recordings of his
music. He is not even granted an entry in New Grove. Still, Giovanni Stefano
Carbonelli (1694-1773) deserves a nod. He was one of the many Italian violin
virtuosos who left his homeland to find his talents in demand elsewhere. He
settled in London and became one of the most important players in Handel’s
company and in other theater groups. He converted to Anglicanism, married
into English social life, was a valued teacher, and developed an extremely
profitable sideline as a merchant of fine wines.
He seems to have left only a
small legacy of his own compositions, and the most important is a set of 12
sonatas for violin and continuo, published elegantly in 1729 under the title
of “Chamber Sonatas”. There were so many Italian violinists who grew up
under the shadow of Corelli. Carbonelli seems to have been one who learned
from the master but developed some individuality of his own. Unlike Corelli
in his Op. 5, where sonatas designated as “chamber” (rather than church)
works consisted of dance movements, Carbonelli only rarely included dances
(a Giga here and there). He normally constructed his sonatas in four
movements. Above all, while he included a good deal of appropriately showy
writing, he displayed a flair for tunefulness. He constantly developed
longlimbed melodies that can be quite appealing. A good example of his
balancing these two elements is in the final movement of No. 6 here, a theme
with variations that may have been inspired by Corelli’s wonderful La Follia
extravaganza (Op. 5:12). Carbonelli launches into it with great charm but
gradually builds into an ostentatious display of virtuosity. This release offers, of course, only the first half of the 1729 publication. I do hope that we are soon to have the other half from these same performers. | |
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