Divertimenti e Cantate da Camera (Giovanni Battista Bononcini)

Giovanni Battista Bononcini

Erschienen am 22.03.07 bei Brilliant Classics
Künstler: Ensemble Aurora
Genre: Klassik

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This Brilliant Classics release represents an odd combination of elements -- a two-disc set of music devoted to Italian composer Giovanni Bononcini of which one disc consists of a set of divertimenti published at London in 1722 and the second to sixth secular cantatas performed by a completely different group. Sharp listeners deep into Bononcini might connect these two differing bodies of work through their publication history, as the cantata Care luci del mio bene originates with an edition that appeared, likewise in London, in 1721 under the title of "Cantate e Duetti." However, the remainder is taken from among the hundreds of Bononcini cantatas in manuscript and may or may not be related to Bononcini's years in England. So what is germane to these divertimenti and cantatas, other than Bononcini's composition of them? The answer is a bit more humdrum and potentially captious than one might surmise, as both recordings originate with the Italian Tactus label and are licensed by Brilliant for use in this combination, entitled Bononcini: Divertimenti e Cantate da Camera.
The first disc consists of divertimenti that are not like Mozartian divertimentos, but are actually solo sonatas with continuo. The continuo is taken in a highly expanded context by period performance ensemble La Stagione Armonica as it consists of gamba, bassoon, theorbo/Baroque guitar, and harpsichord. In keeping with the commercial expectations of the 1720s, Bononcini's early print specifies the solo as being for either violin or German flute (recorder); though La Stagione Armonica decides here to go with the flute, the music seems more idiomatic for the violin. Sergio Balestracci is a spirited and creative recorder player, and the rather dense continuo texture flutters and pipes happily right along with him. These divertimenti are easy to listen to and quite pleasant, but do not offer much variety and can get rather dull after awhile in their consistently unleavened mood of facility and gayety. Bononcini was primarily an opera composer and in chamber music he gravitated naturally toward assigning the soloist a broad, flowing cantilena line; although his chamber output is considerable in size, it is dwarfed by his monstrous output of vocal music, and that is where his appeal truly remains.
The cantatas are far more interesting, and the last of them, Che tirannia di stele, is the best thing on this set, a slow and mournful work that addresses the age-old sentiment of lovers driven apart by external circumstances in a moving and effective way. The rest are at least moderately interesting, though contralto Gloria Banditelli sings unattractively flat in Care luci del mio bene and soprano Cristina Miatello struggles a bit with the high-flying Vidi in cimento due vaghi amore, though she hangs in there and in the end it is an acceptable turn. This 1988 recording of Enrico Gatti's group Ensemble Aurora shows it in good, early form. Texts for the cantatas are thankfully provided, and certainly the asking price from Brilliant for this set will send the listener to the cleaners. If you would like to experiment with Bononcini, then this is an attractive option; just bear in mind that stylistically there isn't much to separate him from his contemporaries Alessandro Scarlatti and Handel, so if you like these composers already, then this will most likely work for you.

© TiVo

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Divertimenti e Cantate da Camera (Giovanni Battista Bononcini)

Ensemble Aurora

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