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Benedetto Marcello Sonatas For Harpsichord, Roberto Loreggian

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12 Sonatas for Harpsichord,Op. 3. Laberinto sopra il clavicembalo. La stravaganza, Roberto Loreggian, hpd

2 CDs FLAC + Scans

With zestful harpsichord playing and the excellent recorded sound‚ these minor works escape the threat of oblivion.

You needn’t reproach yourself for not knowing Marcello’s Op 3. No published copy exists – nor is there any certainty that it was ever published (Opp 2 and 4 appeared in 1712 and 1717). Although numerous manuscript copies of single as well as collections of different harpsichord sonatas ascribed to Marcello are to be found in far­flung European libraries‚ not a single autograph survives. This remarkable two­disc set is the result of the successful collaboration of three Italians: Alessandro Borin‚ who reconstructed a set of 12 works; Riccardo Pergolis‚ who built an appropriate instrument‚ based on harpsichords by GB Giusti; and Roberto Loreggian‚ who committed himself to bringing Marcello’s music to life‚ having already recorded Ferrini‚ Geminiani‚ Poglietti‚ Frescobaldi and Vivaldi. Marcello’s harpsichord music is not of the first rank. Taken in small doses it is spirited and full of technical virtuosity‚ but en masse it cloys. Remarkably‚ there is an almost total absence of real tunes in these works (the opening movement of the Suonata sesta hints at one). Marcello seems to have relished enharmonic notes and progressions (pointed up by the mean­tone tuning after Joseph Sauveur adopted here)‚ using the latter with effect in the final Allegro of the Suonata prima‚ the unusual opening Presto of Suonata settima‚ as well as quaint chromaticisms (note the Largo and Presto of the Suonata decima and the Ciaccona). Most of the sonatas begin with a slow movement of improvisatory character before moving on to a longer second section dominated by dotted rhythms. There are only a few dance movements: the Minuet of Suonata settima provides Loreggian with an opportunity to activate the harpsichord’s tiorbino (buff stop‚ which has a dampening effect on a note’s resonance). The quick movements are only occasionally fugal (for example‚ the Giga of Suonata quarta) and rely instead upon endless scales‚ sequences‚ arpeggios and bariolage‚ syncopation‚ repeated­note basses‚ octaves and pedals. All of these elements come into play in the course of the marathon Ciaccona that crowns the set. Meanwhile Loreggian’s finely judged ornamentation maintains interest in the repeated sections. One of Marcello’s solutions to the boredom factor was to change register and create antiphonal effects between the left and right hands (as in the Prestos of Suonata settima‚ decima and the Laberinto‚ the Adagio of Suonata ottava and‚ of course‚ the Ciaccona)‚ but that eventually becomes yet another cliché. I’m afraid it’s ‘repetition‚ repetition‚ repetition’‚ with the Presto of the Laberinto taking the prize. If the music seems weak‚ then Loreggian’s interpretation certainly isn’t. He plays with tremendous authority and verve‚ making the most of every opportunity. The sound quality is extremely well captured‚ providing just the right sense of proximity between the player and the listener. Harpsichordists must hope that Borin will produce an edition of these works. I look forward to hearing Loreggian again in other music.
Reviewed: Gramophone 2001/10

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