LUIGI BOCCHERINI Sei Terzettini, op. 47
GCD 920313
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La Real Cámara: Natsumi Wakamatsu, violin Emilio Moreno, violaHidemi Suzuki, cello
Production details
Total playing time: 63:08 Recorded in Saitama (Coppice Miyoshi Culture Center), Japan, on 25-27 March, 2014 Engineered and produced by Takashi Sakurai Executive producer: Carlos Céster Booklet essay: Emilio MorenoEnglish – Français – Español – Deutsch
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Trio no. 1 in A major (G 107) 01 Allegretto moderato02 Tempo di minuetto. Amoroso
Trio no. 2 in G major (G 108) 03 Andantino04 Tempo di minuetto
Trio no. 3 in B flat major (G 109) 05 Andante allegretto06 Tempo di minuetto
Trio no. 4 in E flat major (G 110) 07 Adagio08 Tempo di minuetto
Trio no. 5 in D major (G 111) 09 Andantino moderato assai10 Tempo di minuetto
Trio no. 6 in F major (G 112) 11 Allegretto moderato assai 12 Allegro non tanto
About this CD
Few musicians today possess so much awareness and experience with the music of Luigi Boccherini as Emilio Moreno, or can invest their performances with so much insight. With his ensemble La Real Cámara and for his seventh recording of Boccherini’s music for Glossa, Moreno has now turned to the set of six string trios or Terzettini, Op 47 – scored untypically for Boccherini for violin, viola and cello – written when he was in full maturity both in his compositional activity and in his own skills as a cellist.
The year was 1793 and Boccherini turned fifty at the start of it; he had now been working in Madrid for some seven years after the death of his principal patron, the Infante Don Luis de Borbón, remaining active as a composer (these Op 47 trios were dedicated to a new patron, the King of Prussia), cellist and conductor of various of the private orchestras then flourishing in the Spanish capital. His style has become tauter and more intense, almost Romantic in its expressiveness.
Over the decades Moreno has played chamber works of “Don Luis Boquerini” with many gifted musicians. Here, with La Real Cámara, he joins his own viola playing to that of two of his established colleagues and friends from Japan (the recording was made in Saitama), violinist Natsumi Wakamatsu and cellist Hidemi Suzuki. Emilio Moreno also provides a thoughtful essay about the composer as he turned 50 and about his music.