Sonatas for Violoncello Solo and Basso Continuo Op. 1

Salvatore Lanzetti

Agnieszka Oszanca

Sonatas for Violoncello Solo and Basso Continuo Op. 1 - Vol. 1

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917279429
Catnr: CC 72794
Release date: 03 May 2019
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Label
Challenge Classics

UPC
0608917279429

Catalogue number
CC 72794

Release date
03 May 2019

"... if this is any sample, it must have been of an equally high quality. I, for one, am awaiting the second volume of these sonatas. Highly recommended."

Fanfare, 21-2-2020

Album

Artist(s)

Composer(s)

Press

About the album

The protagonist of this recording, Salvatore Lanzetti, an Italian cellist and composer, was born in Naples around 1710. He studied cello and composition in his hometown. There is evidence to suggest that between 1730 and 1754, Lanzetti spent a substantial amount of time in London, where, according to Charles Burney, he helped to popularize his instrument and establish its newly acquired solo status amongst the English music lovers. In 1736 in Amsterdam, our 12 Sonate a Violoncello Solo e Basso Continuo were published as his Opus 1, dedicated to Federico di Brunswick (Frederick, Prince of Wales). His fame as one of the first true cello virtuosi and that of a composer prone to the technical innovations of the instrument was recognized by M. Corrette in his Methode, théorique et pratique pour apprendre en peu de tems le violoncelle dans sa perfection (Paris 1741), where he refers precisely to the Sonatas op. 1. The beauty of the Opus 1, the subject of this recording, lays in their incredible versatility, not only in terms of technical complexity, but also character and the mixture of the French and Italian style which was popular at the time. The extensive use of double stops, shifting, explorations of the entire fingerboard, thumb position and employment of complex bowing techniques, that were until this time the reserve of violin technique, testify to Lanzetti’s extraordinary command of his instrument and fearless imagination.
Agnieszka Oszanca studied historical cellos with Viola de Hoog at Utrecht Conservatory. She performs regularly with European orchestras and chamber music ensembles, in the most important concert venues and at Early Music festivals. Agnieszka has recorded for Decca, Sony, Glossa, Alpha, Pan Classics and Globe Records.

De begenadigd Poolse celliste Agnieszka Oszanca neemt in twee delen de 12 beeldschone sonates voor violoncello solo en basso continuo op van de virtuoze Italiaanse cellist en componist Salvatore Lanzetti. Deze sonates werden in 1736 in Amsterdam gepubliceerd als Opus 1, opgedragen aan Frederick, Prince of Wales. Op dit album de eerste zes sonates met onweerstaanbaar spel van Agnieszka Oszanca.

Schoonheid in verscheidenheid

De schoonheid van de Opus 1 sonates van Salvatore Lanzetti zit in de ongelooflijke verscheidenheid, niet alleen in termen van technische complexiteit maar ook in het karakter en de mengeling van de Franse en Italiaanse stijl, in zijn tijd populair. Het gaat hier om eenvoudige en elegante composities als de sonates nummer een en twee, maar ook om de veeleisender sonates vijf en negen met hun intense, uitzonderlijk langzame bewegingen. Het uitgebreide gebruik van dubbele grepen, de vingerzetting en toepassing van complexe strijktechnieken die tot dan toe alleen aan de viool waren voorbehouden, getuigen van Lanzetti's buitengewone beheersing van de cello en zijn onbegrensde verbeelding. Het lijkt erop dat deze sonates appelleren aan zijn reputatie als groot cellist en daarmee de roep om nog meer aandacht en erkenning rechtvaardigen.

Agnieszka Oszanca

Celliste Agnieszka Oszanca is een van de meest talentvolle Poolse barokmusici van haar generatie. Ze studeerde historisch cello bij Viola de Hoog aan het conservatorium van Utrecht. Ze treedt regelmatig op met Europese orkesten en kamermuziek ensembles, speelt op grote concertpodia en tijdens festivals als het Oude Muziek Festival in Utrecht, het Bach Festival in Swidnica, Polen en in Frankrijk bij het festival Itineraire Baroque en Perigord. De celliste doceert barok cello en kamermuziek bij La Risonanza Barocca International Summer Academy. In haar vrije tijd experimenteert ze graag in de keuken, maar het liefst doolt ze door de bergen.

Salvatore Lanzetti

De hoofdrolspeler van deze opname is Salvatore Lanzetti, een Italiaanse cellist en componist, geboren in Napels rond 1710. Hij studeerde cello en compositie in zijn geboortestad. Gesuggereerd wordt dat Lanzetti tussen 1730 en 1754 aanzienlijk veel tijd doorbracht in Londen, waar hij volgens de Engelse muziekhistoricus Charles Burney, zijn instrument wilde promoten en diens pas verkregen status als solo instrument onder de aandacht wilde brengen van de Engelse muziekliefhebbers. Lanzetti werd gezien als een van de eerste echte cello virtuozen en een, voor de cello, technisch innovatief componist.

Der Protagonist dieser Aufnahme ist Salvatore Lanzetti, ein um 1710 in Neapel geborener Cellist und Komponist. Er studierte Cello und Komposition in seiner Heimatstadt. Quellen lassen vermuten, dass Lanzetti zwischen 1730 und 1754 geraume Zeit in London verbrachte, wo er Charles Burney zufolge half, dem Instrument mehr Bekanntheit zu verschaffen und seinen neu erwirkten Solostatus bei den englischen Musikliebhabern zu etablieren. Die 12 Sonate a Violoncello solo e Basso Continuo wurden 1736 in Amsterdam als Opus 1 veröffentlicht und Federico di Brunswick (Frederick, Prince of Wales) gewidmet. Sein Ruhm als einer der ersten, wahren Cellovirtuosen und als Komponist der technischen Innovationen für das Instrument wird von M. Corrette in dessen Methode, théorique et pratique pour apprendre en peu de tems le violoncelle dans sa perfection (Paris 1741) bestätigt, worin er sich spezifisch auf die Sonaten Opus 1 beruft. Die Schönheit des Werkes, zu hören auf dieser Aufnahme, liegt in seiner unglaublichen Vielfältigkeit, nicht nur hinsichtlich technischer Komplexität, sondern auch bezüglich des Charakters und der Mischung von französischem und italienischem Stil, die zu dieser Zeit beliebt war. Der üppige Gebrauch von Doppelgriffen, Verschiebungen, Ausloten des gesamten Griffbretts, Daumenlage und komplexe Bogentechniken, die bis dahin im Hoheitsgebiet der Violine gelegen hatten, zeugen von Lanzettis außergewöhnlicher Beherrschung des Instrumentes und seiner furchtlosen Vorstellungskraft.
Agnieszka Oszanca studierte historisches Cello bei Viola de Hoog in Utrecht. Sie tritt regelmäßig mit europäischen Orchestern und Kammermusikensembles in den zentralen Konzerthäusern und bei Festivals für Alte Musik auf. Agnieszka hat bereits für Decca, Sony, Glossa, Alpha, Pan Classics und Globe Records aufgenommen.

Artist(s)

Agnieszka Oszanca (cello)

Agnieszka Oszanca studied historical cellos with Viola de Hoog in Utrecht Conservatory, specializing in performance of solo and chamber music repertoire from the early baroque to late romantic period. Her style of playing is often described as fiery and exciting yet stylish and tasteful. She performs regularly with European orchestras and chamber music ensembles, in the most important concert venues and Early Music festivals. She is principal and solo cellist of Ensemble Odyssee and Ensemble Stile Galante, guest principal and solo cellist of Capella Cracoviensis, guest cellist of Fabio Bonizzoni`s La Risonanza and of several other Italian and Polish groups specialized in historically informed performance practice. She appears as a soloist in sonata as well as concerto repertoire and Bach unaccompanied cello...

She performs regularly with European orchestras and chamber music ensembles, in the most important concert venues and Early Music festivals. She is principal and solo cellist of Ensemble Odyssee and Ensemble Stile Galante, guest principal and solo cellist of Capella Cracoviensis, guest cellist of Fabio Bonizzoni`s La Risonanza and of several other Italian and Polish groups specialized in historically informed performance practice.

She appears as a soloist in sonata as well as concerto repertoire and Bach unaccompanied cello suites. She forms duos with the brilliant harpsichordists Patrycja Domagalska and Fabio Bonizzoni. Agnieszka has recorded for Decca, Sony, Glossa, Alpha, Pan Classics and Globe Records. And teaches baroque cello and chamber music at La Risonanza Barocca International Summer Academy.

Agnieszka plays on a copy of an Italian baroque cello made especially for her by Jan Bobak in 2017.

In her spare time, she loves to experiment in the kitchen and to get lost in the mountains.

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Maria Misiarz (cello)

Fabio Bonizzoni (harpsichord)

Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone). Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza. His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas). With La Risonanza he has completed the project of recording all the...

Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone). Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza.
His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas).
With La Risonanza he has completed the project of recording all the Italian Cantatas with instruments by G.F. Handel: this project has been named by the Gramophone Magazine the most important of the decade, and 3 of the 7 CDs of the collection have been awarded the prestigious Handel Stanley Sadie Prize. The last disc of this series, Apollo e Dafne, won the Gramophone Award.
Since 2016, he and La Risonanza are recording for Challenge Classics: a Purcell’s Dido and Aeneas and two volumes of Bach harpsichord concertos have appeared so far.
His activity is also enriched by commitments as guest conductor both of baroque and modern orchestras. Since 2014 he is artistic director of Note Etiche, a festival focusing on links between music, ethics and sustainability and, since 2016, he and his orchestra enjoy artistic residency at Palazzina Liberty in their hometown Milan.

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Gabriele Palomba (theorbo)

Composer(s)

Salvatore Lanzetti

Salvatore Lanzetti, an Italian cellist and composer was born in Naples around 1710. He studied cello and composition in his hometown, at the conservatory of Santa Maria di Loreto.
His earliest recorded professional engagement was in Lucca, where he worked with Veracini as a member of the Palatine Chapel. In 1727 he moved to Turin, hired as cellist of the Royal Chapel, upon the invitation of King Vittorio Amedeo II himself. In the same year, he joined the orchestra of the Teatro Regio. From 1729 he established himself as a soloist in Italy and throughout Europe. In 1730 he travelled to both Paris and London. There is evidence to suggest that between 1730 and 1754 Lanzetti spent a substantial amount of time in London, where according to Charles Burney, he helped to popularize his instrument and establish its newly acquired solo status amongst the English music lovers.
In 1736 Lanzetti also performed with the orchestra of the Teatro Regio, receiving, a fee of 500 lire, in keeping with that of other highly esteemed musicians of his time (such as the violinist Giovanni Battista Somis and the oboist Alessandro Besozzi). This confirms that his talent was fully recognised and that he enjoyed a high professional status. In May of the same year, he was invited to play again in Paris for the prestigious Concerts Spirituels, where he presented some of his compositions to the public. The same year in Amsterdam, our 12 Sonate a Violoncello Solo e Basso Continuo were published as the Opus 1, dedicated to Federico di Brunswick (Federick, Prince of Wales). Subsequently, the re-edition at Le Clerc took place in Paris. In London in 1740, the Six Solos for two cellos with a thorough bass for the harpsichord appeared in print (resubmitted, in 1745, as opus 2, in a different order, for two cellos or German flute and basso continuo). In 1751 he held concerts in Germany and Frankfurt. In about 1760, the 6 Solos after an Easy and Elegant Taste were published in London. Upon his return to Italy, he settled in the service of the orchestra of the Teatro Regio.
We know of his other works: Sonata intitolata Porto Maone, for cello, viola, violin and basso continuo (only parts of the violin and bass survived in manuscript in Berlin, Staatsbibliothek Preussischer Kulturbesitz); Sonates pour violoncelle solo et Bc, op. 6 and op. 7, Paris (Paris, Bibliothèque nationale). The reputable instrumental and compositional experience of Lanzetti merged into his unique pedagogical work: Principes ou L’application de violoncelle, par tous les tons, de la manière la plus facile, published in Amsterdam by Hummel, presumably around 1770.
His fame as one of the first true cello virtuosi and that of a composer prone to the technical innovations of the instrument was recognized by M. Corrette in his Methode, théorique et pratique pour apprendre en peu de tems le violoncelle dans sa perfection (Paris 1741), where he refers precisely to the Sonatas op. 1.
He died in Turin in 1780.

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Press

... if this is any sample, it must have been of an equally high quality. I, for one, am awaiting the second volume of these sonatas. Highly recommended.
Fanfare, 21-2-2020

These recordings prove that the name Lanzetti deserves more prominence.
Luister, 19-7-2019

Particularly successful recording of the Polish baroque cellist Agnieszka Oszanca.
Musicalifeiten, 10-5-2019