Michele Barchi - Turrini: 12 Sonatas for Harpsichord (2019) [Hi-Res]
BAND/ARTIST: Michele Barchi
- Title: Turrini: 12 Sonatas for Harpsichord
- Year Of Release: 2019
- Label: Brilliant Classics
- Genre: Classical
- Quality: FLAC (tracks, booklet) [96kHz/24bit]
- Total Time: 2:02:19
- Total Size: 2.58 GB
- WebSite: Album Preview
Tracklist:
Ferdinando Gasparo Turrini (1745 - 1829)
Sonata No. 1 in C Minor:
1 I. Vivace 04:18
2 II. Adagio 03:59
3 III. Schiava 02:29
Sonata No. 2 in A Major:
4 I. Allegro assai con molto brio 04:08
5 II. Lento ed affettuoso, il Basso sempre legato - Trio 04:48
Sonata No. 3 in E-Flat Major:
6 I. Allegro ma non tanto con illarità 06:20
7 II. Adagio pensieroso 06:05
8 III. Presto assai risoluto 02:58
Sonata No. 4 in B Minor:
9 I. Presto 04:39
10 II. Andante 02:02
Sonata No. 5 in G Major:
11 I. Allegro cantabile 03:59
12 II. Adagio ad imitazione del violuncello 03:11
13 III. Tema con variazioni 04:41
Sonata No. 6 in E Major:
14 I. Allegretto spiritoso 05:22
15 II. Grave 04:22
16 III. Rondò 01:54
Sonata No. 1 in G Major:
17 I. Allegro moderato 04:45
18 II. Andantino brillante 01:46
Sonata No. 2 in A Major:
19 I. Allegretto con spirit 05:01
20 II. Variazione 05:10
Sonata No. 3 in E Major:
21 I. Allegro 05:16
22 II. Presto 05:34
Sonata No. 4 in G Minor:
23 I. Presto 04:18
24 II. Allegretto affettuoso 04:17
Sonata No. 5 in E-Flat Major:
25 I. Allegro ma non troppo 05:33
26 II. Allegro 02:13
Sonata No. 6 in D-Flat Major:
27 I. Allegro assai 03:52
28 II. Un poco andante 05:03
29 III. Prestissimo 04:16
Ferdinando Gasparo Turrini (1745 - 1829)
Sonata No. 1 in C Minor:
1 I. Vivace 04:18
2 II. Adagio 03:59
3 III. Schiava 02:29
Sonata No. 2 in A Major:
4 I. Allegro assai con molto brio 04:08
5 II. Lento ed affettuoso, il Basso sempre legato - Trio 04:48
Sonata No. 3 in E-Flat Major:
6 I. Allegro ma non tanto con illarità 06:20
7 II. Adagio pensieroso 06:05
8 III. Presto assai risoluto 02:58
Sonata No. 4 in B Minor:
9 I. Presto 04:39
10 II. Andante 02:02
Sonata No. 5 in G Major:
11 I. Allegro cantabile 03:59
12 II. Adagio ad imitazione del violuncello 03:11
13 III. Tema con variazioni 04:41
Sonata No. 6 in E Major:
14 I. Allegretto spiritoso 05:22
15 II. Grave 04:22
16 III. Rondò 01:54
Sonata No. 1 in G Major:
17 I. Allegro moderato 04:45
18 II. Andantino brillante 01:46
Sonata No. 2 in A Major:
19 I. Allegretto con spirit 05:01
20 II. Variazione 05:10
Sonata No. 3 in E Major:
21 I. Allegro 05:16
22 II. Presto 05:34
Sonata No. 4 in G Minor:
23 I. Presto 04:18
24 II. Allegretto affettuoso 04:17
Sonata No. 5 in E-Flat Major:
25 I. Allegro ma non troppo 05:33
26 II. Allegro 02:13
Sonata No. 6 in D-Flat Major:
27 I. Allegro assai 03:52
28 II. Un poco andante 05:03
29 III. Prestissimo 04:16
Early-Classical keyboard sonatas by a northItalian contemporary of Beethoven, much esteemed in his day and now almost unknown.
Brilliant Classics has long specialised in illuminating the music of composers who are largely lost to posterity – especially from Italy, and especially from the 17th and 18th centuries. Here is another name to conjure with and to quicken the blood of collectors eager to add another name to their shelves: Ferdinando Turrini, born in the town of Salò in 1845. His death date is much more uncertain – between 1812 and 1829 – but he passed away in Brescia, where he had become a much esteemed teacher, organist, master of music and composer.
Blindness afflicted Turrini in his late 20s, but it appears not to have stemmed the flow of an output that ranged from operas to sacred and instrumental music. Nearly all of it is now lost to us, and what survives does so almost exclusively in manuscript. In fact the six keyboard sonatas dedicated to the Genovese patrician Carlo Spinola were printed during Turrini’s lifetime, whereas the other six sonatas on Michele Barchi’s new recording, dedicated to the Venetian nobleman Vincenzo Fini, have come down to us in handwritten copies.
The two-movement ‘Spinola’ sonatas are lively and imaginative enough, but it is in the Fini sonatas that a kinship with Turrini’s contemporary Beethoven becomes evident. These works far transcend their galant context, and could equally well be performed on the fortepiano, composed as they were on the cusp of keyboardinstrument history. The style that one contemporary described as ‘dolce patetico’ (‘sweet and full of feeling’) is particularly evident in the intensity of the slow movements: for instance, in the ‘Adagio ad imitazione del Violoncello’ of the Sonata No.5.
Michele Barchi is an experienced earlymusic keyboard musician who has worked with the likes of the late Claudio Abbado and with Riccardo Muti. Among his recordings is a contribution to the compendious ‘Bach 2000’ edition issued by Warner Classics. This album marks his debut on Brilliant Classics.
Michele Barchi, harpsichord
Brilliant Classics has long specialised in illuminating the music of composers who are largely lost to posterity – especially from Italy, and especially from the 17th and 18th centuries. Here is another name to conjure with and to quicken the blood of collectors eager to add another name to their shelves: Ferdinando Turrini, born in the town of Salò in 1845. His death date is much more uncertain – between 1812 and 1829 – but he passed away in Brescia, where he had become a much esteemed teacher, organist, master of music and composer.
Blindness afflicted Turrini in his late 20s, but it appears not to have stemmed the flow of an output that ranged from operas to sacred and instrumental music. Nearly all of it is now lost to us, and what survives does so almost exclusively in manuscript. In fact the six keyboard sonatas dedicated to the Genovese patrician Carlo Spinola were printed during Turrini’s lifetime, whereas the other six sonatas on Michele Barchi’s new recording, dedicated to the Venetian nobleman Vincenzo Fini, have come down to us in handwritten copies.
The two-movement ‘Spinola’ sonatas are lively and imaginative enough, but it is in the Fini sonatas that a kinship with Turrini’s contemporary Beethoven becomes evident. These works far transcend their galant context, and could equally well be performed on the fortepiano, composed as they were on the cusp of keyboardinstrument history. The style that one contemporary described as ‘dolce patetico’ (‘sweet and full of feeling’) is particularly evident in the intensity of the slow movements: for instance, in the ‘Adagio ad imitazione del Violoncello’ of the Sonata No.5.
Michele Barchi is an experienced earlymusic keyboard musician who has worked with the likes of the late Claudio Abbado and with Riccardo Muti. Among his recordings is a contribution to the compendious ‘Bach 2000’ edition issued by Warner Classics. This album marks his debut on Brilliant Classics.
Michele Barchi, harpsichord
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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