Giovanni Sollima, Arianna Art Ensemble & Monika Leskovar - Costanzi: Sinfonie per violoncello (2017) [Hi-Res]

Tracklist
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01. Sinfonia in D Major for Cello & Basso continuo: I. Adagio staccato
02. Sinfonia in D Major for Cello & Basso continuo: II. Allegro
03. Sinfonia in D Major for Cello & Basso continuo: III. Amoroso
04. Sinfonia in D Major for Cello & Basso continuo: IV. Minuetto amoroso
05. Sinfonia in B-Flat Major for Cello & Basso continuo: I. Adagio
06. Sinfonia in B-Flat Major for Cello & Basso continuo: II. Spiritoso
07. Sinfonia in B-Flat Major for Cello & Basso continuo: III. Sarabanda (Amoroso)
08. Sinfonia in B-Flat Major for Cello & Basso continuo: IV. Minuet
09. Sonata da camera for 2 Cellos in F Major: I. Amoroso-Allegro assai-Amoroso
10. Sonata da camera for 2 Cellos in F Major: II. Adagio
11. Sonata da camera for 2 Cellos in F Major: III. Presto
12. Sinfonia in G Major for Cello & Basso continuo: I. Grave
13. Sinfonia in G Major for Cello & Basso continuo: II. Allegro
14. Sinfonia in G Major for Cello & Basso continuo: III. Minuè
15. Sinfonia in E-Flat Major for Cello & Basso continuo: I. Adagio
16. Sinfonia in E-Flat Major for Cello & Basso continuo: II. Allegro
17. Sinfonia in E-Flat Major for Cello & Basso continuo: III. Minuet
18. The Hunting Sonata: I. Adagio-Allegro
19. The Hunting Sonata: II. Siciliana
20. The Hunting Sonata: III. Giga
21. Sinfonia in C Major for Cello & Basso continuo: I. Grave
22. Sinfonia in C Major for Cello & Basso continuo: II. Allegro
23. Sinfonia in C Major for Cello & Basso continuo: III. Variazioni (Allegro)

With one album of cello sonatas by Giovanni Battista Costanzi behind him, Giovanni Sollima has decided to provide further proof of how Costanzi has hitherto been a woefully neglected but exciting compositional voice from that nebulous period between Baroque and Classical. With this new disc of Sinfonie per violoncello from Glossa, Sollima demonstrates once more the melodic inventiveness and harmonic liberty to which Costanzi was given together with a virtuoso’s capacity to relish the technical demands imposed by a Roman musician who was clearly also a star player on the instrument himself.

Together with the Arianna Art Ensemble Sollima has recorded five sinfonias for cello and continuo, and a sonata for two cellos by Costanzi where he is joined once again by Monika Leskovar. If the four- movement sonata da chiesa structure favoured by Corelli is still apparent in some of these sinfonias, there is a greater openness to the galante style and influences coming from elsewhere in Europe and from across Italy, for all that Costanzi may have not ventured far outside the Eternal City (it is likely also that he taught the young Boccherini, who had made the considerable journey from Lucca for lessons with “Giovannino del Violoncelo”).

A new composition (The Hunting Sonata) by Sollima himself – another cellist-composer – takes off from Costanzi’s almost programmatic Sonata for two cellos, “ad uso di corni da caccia”.

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