Marcello: 6 Bản sonata cho violoncello

Immerse yourself in the elegance and sophistication of the Baroque period with Benedetto Marcello's 6 Violoncello Sonatas, a stunning collection brought to life by the expressive sound of the violoncello. This Brilliant Classics recording highlights Marcello's romantic genius and the timeless beauty of his chamber music.

Composer: Benedetto Marcello
Artists: Renato Criscuolo (Baroque cello) & Aldo Criscuolo (harpsichord)

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There are two nearly identical sources for the collection of six sonatas for cello and basso continuo by the Venetian nobleman Benedetto Marcello (1686–1739). One is the London edition by I. Walsh, and the other is an uncredited Dutch edition. The publication date of the Dutch edition, and most likely the English edition, is 1732.
It is worth noting that the London edition is labeled Opus 2 (opera seconda) while the Amsterdam edition has Opus 1 (opera prima). B. Marcello's Opus 2 is in fact often associated with his most famous flute sonatas. This confusion in opus numbers suggests an unauthorized, unauthorised publication, a practice to which Walsh, at least, was not unfamiliar.

The publication of Benedetto Marcello's Six Sonatas for Cello and Basso Continuo by Walsh, who dealt mainly in "commercial" music for amateur players, suggests that they were indeed composed for non-professionals. However, the appearance of the Fourth Sonata in the fifth-year modern cello curriculum in Italy has unfortunately given the entire collection the label of "educational music", making recordings of the set on both modern and classical instruments rare. They have also long been overshadowed by the more famous and contemporary cello and basso continuo sonatas of fellow Venetian Antonio Vivaldi. However, the B. Marcello sonatas have fine melodies, especially in the central Largos of the Third, Fourth and Sixth Sonatas, and there are clear echoes of Handel in the First Sonata. A beautiful jig concludes the Fourth Sonata – the only example of a dance in the collection. Walsh’s London edition specifies the basso continuo on the harpsichord, and this recording follows suit, adjusting the entire accompaniment to keyboard instruments and omitting melodic passages that might have been intended for the second cello. The ligatures in the solo are interpreted as expressive cues rather than bowing marks.

Finally, some instrumental introductions have been added to the slow sections, as was the tradition of the period. As this is a typical sonata of the Les Goûts réunis (unified national style) period, Renato Criscuolo combined Italian-style diminutives with some of the characteristic ornamentation of the French gambist repertoire. This combination would have been particularly familiar in London, which, despite its preference for Italian drama, welcomed both major European schools.

Tracklist:
Cello Sonata No. 1 in F major:
00:00 I. Largo
02:33 II. Allegro
05:11 III. Largo
06:05 IV. Allegro

Cello Sonata No. 2 in E minor:
08:15 I. Adagio
09:55 II. Allegro
12:14 III. Largo
13:05 IV. Andante

Cello Sonata No. 3 in A minor:
15:04 I. Adagio
16:32 II. Allegro
19:10 III. Largo
20:59 IV. Allegro

Sonata for Violoncello No. 4 in G minor:
22:52 I. Adagio
24:11 II. Allegro
26:48 III. Largo
28:01 IV. Allegro

Sonata for Violoncelle No. 5 in C major:
29:28 I. Adagio
30:38 II. Allegro
33:17 III. Largo
34:08 IV. Allegro

Sonata for Violoncelle No. 6 in G major:
36:09 I. Adagio
38:42 II. Allegro
40:51 III. Grave
42:13 IV. Allegro

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