Marco Venturi, Luca Venturi, Giacomo Scarponi, Ivo Scarponi & Angelo Cicillini - Bartolucci: Chamber Music (2017) [Hi-Res]

Tracklist
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01. Trio in A Major for Violin, Cello and Piano: I. Allegro moderato
02. Trio in A Major for Violin, Cello and Piano: II. Canzone
03. Trio in A Major for Violin, Cello and Piano: III. Scherzo
04. Trio in A Major for Violin, Cello and Piano: IV. Rondò
05. Prelude, Intermezzo and Fugue in A Minor: I. Preludio-Mosso ma non troppo
06. Prelude, Intermezzo and Fugue in A Minor: II. Intermezzo-Moderato
07. Prelude, Intermezzo and Fugue in A Minor: III. Fuga-Mosso con brio
08. Prelude, Intermezzo and Fugue in C Minor: I. Preludio-Andante comodo
09. Prelude, Intermezzo and Fugue in C Minor: II. Intermezzo-Moderato
10. Prelude, Intermezzo and Fugue in C Minor: III. Fuga-Moderato poco mosso
11. Sonata in G Major: I. Allegro moderato
12. Sonata in G Major: II. Andante sostenuto
13. Sonata in G Major: III. Vivo e vigoroso
14. Sonata in G Major: IV. Allegro con brio


Domenico Bartolucci was in some ways a 20th‐century descendant of the liturgical musicians who composed for the church – and especially the Catholic church in Italy – during the 16th, 17th and 18th centuries. Born in 1917, he was appointed Master of Music at the Sistine Chapel in the Vatican, but he also taught at the Accademia Nazionale di Santa Cecilia in Rome. Most of his considerable output was, naturally, sacred in form and purpose: not only motets and mass settings but symphonic oratorios and even a sacred opera based on the life of the painter Brunelleschi. He was appointed a cardinal in 2010 and died in 2013.

Very little of his music has been recorded. Here, however, is a new studio recording of his chamber music, made in the Pontifical Institute for Sacred Music in Rome. The genre of Prelude, Intermezzo and Fugue implies a keyboard work of the type written by Bach or Franck; here, however, are two examples scored for violin/cello duet and for string trio, both demonstrating Bartolucci’s considerable mastery of counterpoint. They are joined by a Piano Trio with a lovely second‐movement Canzone, and a Violin Sonata of engaging richness: there are moments of great passion in the first movement, of elegiac delicacy in the slow movement, grotesque elements in the third movement, and a luminous fluidity reminiscent of Mozart in the finale.

The language itself is comparatively conservative – as one would expect from his training and position, Bartolucci was no modernist – but also melodically appealing, and always sympathetically written for his forces. The instrumentalists recorded here have been performing Bartolucci’s music for over two decades: they are uniquely authoritative interpreters of an idiom that prizes beauty above all things.

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