Marius Bartoccini - Schaffrath: XII Soli Per Il Cembalo (2025) [Hi-Res]

Tracklist

01. Sonata No. 1 in C Major: I. (Without Tempo Indication)
02. Sonata No. 1 in C Major: II. Poco Andante
03. Sonata No. 1 in C Major: III. Allegro
04. Sonata No. 2 in A Minor: I. (Without Tempo Indication)
05. Sonata No. 2 in A Minor: II. Poco Andante
06. Sonata No. 2 in A Minor: III. Allegro
07. Sonata No. 3 in G Major: I. Allegro
08. Sonata No. 3 in G Major: II. Poco Adagio
09. Sonata No. 3 in G Major: III. Allegro
10. Sonata No. 4 in E Minor: I. Allegro Assai
11. Sonata No. 4 in E Minor: II. Poco Adagio
12. Sonata No. 4 in E Minor: III. Allegro
13. Sonata No. 5 in D Major: I. Allegro
14. Sonata No. 5 in D Major: II. Andante
15. Sonata No. 5 in D Major: III. Allegro
16. Sonata No. 6 in B Minor: I. Allegro
17. Sonata No. 6 in B Minor: II. Poco Adagio
18. Sonata No. 6 in B Minor: III. Allegro
19. Sonata No. 7 in A Major: I. Allegretto
20. Sonata No. 7 in A Major: II. Poco Andante
21. Sonata No. 7 in A Major: III. Allegro Assai (With Completion by M. Bartoccini from 2'12)
22. Sonata No. 9 in B-Flat Major: I. Allegro
23. Sonata No. 9 in B-Flat Major: II. Adagio
24. Sonata No. 9 in B-Flat Major: III. Allegro
25. Sonata No. 12 D Minor: I. Allegro
26. Sonata No. 12 D Minor: II. Poco Adagio
27. Sonata No. 12 D Minor: III. Allegro Assai

Christoph Schaffrath (1709–1763) was a German composer, harpsichordist, and organist active during the transition from the late Baroque to the early Classical period. Born in Hohnstein near Dresden, he studied at the University of Leipzig and later competed for the position of organist at the Sophienkirche in Dresden, though he lost to Wilhelm Friedemann Bach. Despite this setback, Schaffrath went on to build a solid career in Berlin, serving first as harpsichordist to Crown Prince Frederick (later Frederick the Great) and later as court musician to Princess Anna Amalia of Prussia. His role in these circles placed him in the heart of the north German Empfindsamer Stil, a style characterized by expressive melodies, sudden contrasts, and sensitivity to affect.
Among Schaffrath’s surviving works, the 12 Soli per il Cembalo hold a special place. This collection, composed for solo harpsichord, shows his ability to merge Baroque contrapuntal traditions with the emerging galant idiom. Each of the twelve pieces demonstrates clarity of texture, graceful melodic invention, and a keen sense of ornamentation appropriate for the keyboard. Unlike the dense polyphony of J.S. Bach, Schaffrath’s Soli often feature a singing upper line supported by transparent accompaniment, making them more accessible to performers and audiences of his time.
The sonatas show Schaffrath’s sensitivity to the harpsichord’s timbre and expressive limits, favoring elegance over virtuosic display. Today, the 12 Soli per il Cembalo offer valuable insight into mid-18th-century keyboard practice and exemplify the stylistic currents that paved the way for Haydn, C.P.E. Bach, and Mozart.
Played by Marius Bartoccini, a keyboard player who performed as a soloist with Sigiswald Kuijken and Federico Maria Sardelli. On this recording he plays an harpsichord and clavichord. He recorded to great critical acclaim for Brilliant Classics works by Dussek, Myslivecek and Kozeluch.

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