Atalanta Fugiens, Vanni Moretto - Francesco Zappa: Six Symphonies (2012)

Although the two were not related, we do have Frank Zappa (1940-1993) to thank for rediscovering his namesake, Francesco Zappa (1717?-1805?). These 6 symphonies were written during the early Classical era composer's active period between 1763-1788, all in major keys and all following the 3 movement `fast-slow-fast' structure.

The opening of `Allegro' of No. 1 in E Flat bursts forth with sparkling verve, driven by the numerous rising crescendos, classic examples of the Mannheim rocket. A measured `Larghetto' follows, dominated by the violins as the winds fall silent, and the lower strings and the harpsichord continuo offer a simple, but effective pulsing accompaniment. The final triple metered `Presto' begins with a stirring horn call and gallops to a rousing conclusion.

Written in G Major, the `Allegro con brio' that opens Symphony No.2 again features long crescendos and a vigorous attack. Paired flutes delicately layer the top of the melodic lines of the violins in the brief `Larghetto', the only time these instruments are used in the recording. Propelled by the horns and repeated staccato notes from the harpsichord, the 3rd movement `Presto' rushes to a satisfying conclusion.

The oboes shine in the `Allegro' of the 3rd symphony, in a repeated passage that offers a welcome respite from the scurrying strings. Composed in B Flat, this 1st movement employs several false endings, perhaps showing a nod to Haydn. An undulating accompaniment in the lower strings characterizes the following `Andante', while the finale is triple metered `Allegro', gently swaying and highlighted by muted horns and an exquisite oboe filigree.

In C Major, Symphony No.4 begins with a dramatic unison, grabbing the listener before abruptly dropping to a hushed urgency, driven by the violins into another long crescendo. Sharply contrasting dynamic shifts mark this `Allegro'. After a slight, but charming `Andante', the 3rd movement `Presto' echoes with horn calls and a skipping triple metered rhythm.

The opening `Allegro assai' of the 5th symphony, composed in D Major, contains a more developed accompaniment from the lower strings, and flows directly into the lovely 2nd movement `Largo'. A gorgeous cello solo forms the highlight of this work, and possibly the entire disc. Renowned as a virtuoso cellist, Zappa shows his deep affinity for the instrument here, and leaves us wishing he'd written more. A very brief `Allegro' ends the composition on a brisk note.

Written in E Flat, the final symphony's 1st movement features a playful call and answer passage between the violins and the harpsichord. Reflective, almost melancholy, the `Andante' that follows drifts in and out of minor, the only section on the whole recording that spends more than a few measures in a minor key. Three powerful unison notes open the `Presto assai', hurling this 3rd movement headlong into a gratifying ending.

The recording by Deutsche Harmonia Mundi is clean and bright, a perfect complement to the infectious enthusiasm of Atalanta Fugiens. Ably directed by Vanni Moretto, the chamber orchestra delivers a boisterous reading that brings out the best of an overlooked composer. Although Francesco Zappa might well have been rediscovered on his own considerable merits, we thank you Frank for reintroducing him to a modern audience.