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Salvatore Lanzetti

Emmanuel Balssa

Sonates a Violoncello solo e Basso continuo

  • Type CD
  • Label Lindoro
  • UPC 8436003830399
  • Catalog number NL 3039
  • Release date 06 July 2018

About the album

Although Lanzetti was remained unknown until the beginning of the 1980’s, in his lifetime he was regarded as a brilliant ‘cellist. Yet his virtuosity on the instrument never equalled his fame, which was eclipsed by the popularity of another great 18th century Napolian ‘cellist, Franceschiello.
In any case, the skills of Lanzetti as a ‘cellist were inimitable. He was born in Naples in 1709, under the name of Lancetti (in Torino, where he lived for many years, the ‘cello was pronounced violinzello, which explains the change in spelling of his name). He studied at the Conservatorio di Santa Maria di Loreto, the most renowned school for ‘cellists in the eighteenth century, where he received lessons from the greatest ‘cellists of the Neapolitan school. He later moved to Torino, where he became ‘cellist of the Court Theatre, and a member of the Capella Reale. During his lifetime, Lanzetti toured Europe several times. The most celebrated visits were his the Concert Spirituels, and to London (1730 and in the 1740’s) and Hamburg (1751).

His compositions are exclusively for the ‘cello. He wrote three collections of sonatas for ‘cello and figured bass (published as Opus I, V and VI), a method,some transcriptions,and several sonatas which have been preserved only in manuscripts. Even his early works require a surprisingly high technical ability for his time, and they become even more demanding in his later compositions. This can be seen in the use of double stops and bow strokes in Opus 1, even in the highest range of the instrument. In Opus V, Lanzetti’s further investigations into the technical possibilities of the instrument are represented through the use of artificial harmonics, an extremely advance technique for his time. Opus VI is somewhat different, returning to a simpler and more constant technique. His developments in technique were probably too audacious for the ‘cellists of the eighteenth century, and therefore not suitable for publication. While he continued with his technical investigations, particularly in the handwritten sonatas (such as “Porto Mahone”), the published Opus VI remained in “easy and elegant taste”, as indicated on the title page.

  • 1
    1
    Sonata II opera quinta in sib magg. Allegro Assai
     
    02:53
  • 1
    2
    Sonata II opera quinta in sib magg. Andante (Alla breve)
     
    02:46
  • 1
    3
    Sonata II opera quinta in sib magg. Allegro
     
    02:38
  • 1
    4
    Sonata III opera quinta in re magg. Adagio Cantabile
     
    03:21
  • 1
    5
    Sonata III opera quinta in re magg. Allegro
     
    03:27
  • 1
    6
    Sonata III opera quinta in re magg. Graziozo
     
    06:29
  • 1
    7
    Sonata V opera prima in la min. Adagio cantabile
     
    03:44
  • 1
    8
    Sonata V opera prima in la min. Allegro
     
    06:13
  • 1
    9
    Sonata V opera prima in la min. Menuet Andante
     
    03:30
  • 1
    10
    Sonata II opera sesta in do magg. Andante
     
    04:39
  • 1
    11
    Sonata II opera sesta in do magg. Chasse (Allegro)
     
    03:05
  • 1
    12
    Sonata II opera sesta in do magg. Fanfare
     
    02:39
  • 1
    13
    Sonata XI opera prima in fa magg. Allegro
     
    04:38
  • 1
    14
    Sonata XI opera prima in fa magg. Adagio - Allegro
     
    03:44
  • 1
    15
    Sonata XI opera prima in fa magg. Rondeau Andante
     
    05:31
  • 1
    16
    Sonata IX opera prima in la min. Adagio
     
    03:05
  • 1
    17
    Sonata IX opera prima in la min. Allegro
     
    02:51
  • 1
    18
    Sonata IX opera prima in la min. Andante
     
    04:21

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