Giovanni Miszczyszyn, Instrumental Ensemble of Accademia del Santo Spirito - Giordani: 6 Flute Concertos (2025)

Tracklist

01. Concerto No. 1 in D Major, Op. 19: I. Allegro Moderato
02. Concerto No. 1 in D Major, Op. 19: II. Larghetto
03. Concerto No. 1 in D Major, Op. 19: III. Rondò, Allegro
04. Concerto No. 2 in F Major, Op. 19: I. Allegro Maestoso
05. Concerto No. 2 in F Major, Op. 19: II. Largo
06. Concerto No. 2 in F Major, Op. 19: III. Rondò, Allegretto
07. Concerto No. 3 in C Major, Op. 19: I. Allegro
08. Concerto No. 3 in C Major, Op. 19: II. Larghetto Con Un Poco Di Moto
09. Concerto No. 3 in C Major, Op. 19: III. Minuetto Con Moto
10. Concerto No. 4 in G Major, Op. 19: I. Spiritoso
11. Concerto No. 4 in G Major, Op. 19: II. Larghetto
12. Concerto No. 4 in G Major, Op. 19: III. Rondò, Allegro
13. Concerto No. 5 in D Major, Op. 19: I. Moderato
14. Concerto No. 5 in D Major, Op. 19: II. Largo
15. Concerto No. 5 in D Major, Op. 19: III. Minuetto, Grazioso
16. Concerto No. 6 in C Major, Op. 19: I. Spiritoso
17. Concerto No. 6 in C Major, Op. 19: II. Largo
18. Concerto No. 6 in C Major, Op. 19: III. Rondò, Andantino Grazioso

World-premiere recordings of six attractive concertos by a Neapolitan flautist-composer celebrated in 18th-century Dublin and London.
Tommaso Giordani (1730-1806) arrived on the northern shore of the English Channel in 1753, as one of the youngest members of a conspicuously talented musical family, and found good reason never to return southwards. In Dublin he gave lessons to the boy John Field, who would later much surpass the fame of his teacher by creating the genre of the piano nocturne. Meanwhile Giordani had returned to the English capital, where he wrote most of his surviving compositions - such as this set of flute concertos, dating from 1775-9 and dedicated to a flute-playing baronet.
Each concerto follows a familiar formal pattern: a sonata-form first movement, an introspective second, often rising to a considerable peak of intensity, and a sparkling rondo-finale. Within this pattern, Giordani finds space for continual variety: the form does not constrain his invention but (in classic Baroque practice) rather supplies an elegant vessel for it.
As much as the good baronet, he was clearly writing with himself in mind as a soloist, and this is music written for display and delight, and played here in that spirit by a period-instrument ensemble of musicians based in Turin, led by the Italian flautist Giovanni Miszczyszyn. The recording was made in 2024 at the Chiesa della Santa Spirito in Turin where the musicians give a regular concert series. It is infused with not only a spirit of Giordani’s age but with a chamber-music sense of collaborative enterprise.

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