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An Italian Sojourn
Cedille Records CDR 90000 099
Trio Settecento brings fresh insights to music from the Age of Enlightenment through its passionate, authoritative, and distinctive interpretations.
The period instrument ensemble's new CD, An Italian Sojourn
, traces the remarkable musical innovations of composers in Venice, Rome, and beyond during the Baroque era through works by eight different composers including Marini, Corelli, Veracini, Tartini, and Locatelli.
In the hands of Trio Settecento (The 1700s Trio), these masterpieces exude the dramatic intensity of the Italian school.
Reviewing the trio's 2006 New York debut, The New York Times
declared, Pine "played remarkably. . . . Mr. Rozendaal and Mr. Schrader contributed a rich, modestly varied texture."
A Personal Note from Rachel Barton Pine
What a difference a decade makes! In 1996, John Mark Rozendaal, David Schrader, and I collaborated on a recording of Handel's Violin Sonatas. We enjoyed working together so much that in 1997, we formed Trio Settecento. This album, An Italian Sojourn, represents the culmination of ten years' growth for us as individuals and as an ensemble.
In 1996, I recorded Handel using a modernized 1617 Amati and a baroque bow. My interpretations on that album combined a historically-informed approach to phrasing and ornamentation with a contemporary application of vibrato. This continues to be my approach when performing a Baroque sonata alongside Romantic and 20th/21st Century works on my 1742 Guarneri del Gesu.
However, my exploration of the sound world of the 17th and 18th Centuries has evolved significantly. In 2002, I began performing this music on a 1770 Nicola Gagliano in original condition. This beautiful instrument has had a remarkable effect on my capability to be faithful to the early composers' intents and to bring their music most fully to life.
I am so grateful for the opportunity to collaborate with John Mark and David. Their passion for music, boundless thirst for knowledge, and mastery of their instruments makes our time together an exciting musical adventure and increasingly rewarding. The longer we play together, the more we breathe as one, anticipate each others' nuances, and discover increased freedom and spontaneity in our improvisations. And through all these years of intense rehearsing, we remain the best of friends!
Baroque music holds the power to delight and astonish. We chose the pieces on this album for their profound beauty and sometimes startling originality, even eccentricity. I hope that you are as excited to discover this music as we always are to play it.
Not surprisingly this new release from Rachel Barton Pine, this time with her friends and Cedille label-mates John Mark Rozendaal and David Schrader--appearing together as Trio Settecento--offers a well-thought-out program. As demonstrated on her previous recordings, Pine is interested not just in filling a CD with good music but in providing listeners with a broader, more meaningful experience. In this case the trio's aim is to show the ways different Italian or Italian-influenced composers realized the possibilities of the newly emerging voice of the solo violin beginning in the late 17th century. And "voice" is the key word here, as throughout these eight very distinctive pieces we hear all manner of expressive effects as well as the pure, artful exploitation of the violin's capacity for lyrical, singing melody. . . . But as well crafted as these sonatas are, it's Pine and her outstanding colleagues that make the impression, and it's obvious that these players--all respected soloists--have been together in this repertoire for a long time. In fact, they've been performing as an ensemble for more than 10 years, successfully applying their exceptionally high level of modern technique and artistry to a sincere concern for period-performance authenticity. I especially enjoyed the sound of Pine's original, unaltered 1770 Gagliano violin, which in her hands sings with an impressively assertive tone--bold and gritty, with a lovely, silvery upper register. This is a disc that demands, encourages, and truly rewards many hearings, made even more enjoyable by the vibrant, natural, ideally balanced sound. Highly recommended!
to download the CD booklet.
|Click the Cedille Player at the upper left to hear excerpts from the tracks highlighted in red below. These have been carefully chosen as representative of the CD program.|
1 Dario Castello: Sonata ottava in D minor (4:38)
2 Alessandro Stradella: Sinfonia in D minor (7:27)
3 Biagio Marini: Sonata a due in D minor (3:55)
Pietro Antonio Locatelli: Sonata da camera, Op. 6, No. 2 in F Major (16:31)
4 Andante (5:33)
5 Allegro (4:44)
6 Aria (6:09)
Arcangelo Corelli: Sonata in C Major, Op. 5, No. 3 (10:02)
7 Adagio (2:15)
8 Allegro (1:42)
9 Adagio (2:50)
10 Allegro (0:53)
11 Allegro (2:14)
Giuseppe Tartini: Sonata Pastorale in A Major (9:09)
12 Grave (3:19)
13 Allegro (2:37)
14 Largo (3:13)
George Frideric Handel: Sonata in G minor, HWV 364a (5:31)
15 Larghetto (1:23)
16 Allegro (1:32)
17 Adagio (0:44)
18 Allegro (1:48)
Francesco Veracini: Sonata in D minor, Op. 2, No. 12 (13:02)
19 Passagallo (Largo) (3:22)
20 Capriccio Cromatico (Allegro, ma non presto) (2:51)
21 Adagio - Ciaccona (Allegro, ma non Presto) (6:43)
Producer: James Ginsburg / Engineer: Bill Maylone / Graphic Design: Melanie Germond / Cover Painting: The Walk, c.1791 (oil on canvas) by Giandomenico (Giovanni Domenico) Tiepolo (1727-1804). Ca’o Rezzonico, Museo del Settecento, Venice, Alinari. © The Bridgeman Art Library International / Recorded December 18, 19 , 21 & 22, 2006 in Nichols Concert Hall at the Music Institute of Chicago in Evanston, IL
Violin: Nicola Gagliano, 1770, in original, unaltered condition / Violin Strings: Damian Dlugolecki / Violin Bows: Harry Grabenstein, replica of early 17th Century model (Castello, Stradella, Marini) / Louis Begin, replica of 18th Century model (Locatelli, Corelli, Tartini, Handel, Veracini) / Cello: Unknown Tyrolean maker, 18th century / Cello Bows: Louis Begin (Castello, Marini, Stradella) / Julian Clarke (Corelli, Handel, Locatelli, Tartini, Veracini) / Harpsichord: Willard Martin, Bethlehem, Pennsylvania, 1997. Single-manual instrument after a concept by Marin Mersenne (1617), strung throughout in brass wire with a range of GG-d3. / Tuning: Unequal temperament by David Schrader, based on Werckmeister III.