A SOUVENIR FROM LONDON
Luigi Marchesi: Ariette opp. i & ii

Luigi Marchesi (1756-1829)
1 Nice mia, oh Dio, rammenta (Op. i, 1)
2 Che ciascun per te sospiri (Op. i, 2)
3 Sembianze amabili (Op. i, 3)
4 Auretta grata (Op. ii, 5)

Anne-Marie Krumpholtz (1766-1813)
5 A new introduction and a Piemontois air with variations
Introduction (from Joseph Dale): Andante - Air Piemontois
(from Martin Pierre d'Alvimare du Briou): Andante - Allegretto
Tempo giusto - Allegretto “To imitate the French Horns” - No tempo markings

Luigi Marchesi
6 Tu che parli all'idol mio (Op. ii, 1)
7 Che fa il mio bene? (Op. ii, 3)
8 Non è ver che l'ira insegni (Op. ii, 4)

James Cervetto (1748-1837)
Duett for two violoncellos in C Major (Op. v, 1)
9 Allegro
10 Aria: Andantino
11 Allegro

Luigi Marchesi
12 Son vicino al ben che adoro (Op. i, 5)
13 Il capriccio (Op. ii, 6)
14 Ah, furbicel d'Amore (Op. i, 4)

Katerina Veronika Anna Dusíková Cianchettini (1769-1833)
Sonata for the pianoforte (...) in which is introduced
the favorite Portogueze hymn Adeste Fideles
15 Allegro moderato
16 Andante
17 Waltz: Allegro moderato

Luigi Marchesi
18 Se guido il gregge al prato (Op. i, 6)
19 Se mai di lei t'accendi (Op. ii, 2)

Anne-Marie Krumpholtz
20 Minuetto by Krumpholtz, the variations by Madame de.
Minuetto - Variation 1 - Variation 2 - Variation 3 - Minuetto da capo

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About this album

Five years ago, Stile Galante dedicated a CD recording with the renowned Swedish mezzosoprano Ann Hallenberg to the celebrated soprano castrato Luigi Marchesi (1754-1829). Accompanied by soprano Francesca Cassinari, Stile Galante is now going back to this extraordinary musician and presents his work as a composer of chamber vocal music. Marchesi published during his stay in London two different collections of ariettas with fortepiano and harp accompaniment. The Ariette op. 1 & 2 are sweet musical cameos dominated by remarkable elegance. They perfectly embody the taste of the time and represent Marchesi’s wish to use his popularity as an opera singer to push in front of the audience a more all-round image of himself as an artist. The programme is rounded off with brilliant instrumental pieces for fortepiano and harps by female composers Anne- Marie Krumpholz (1766-1824) and Veronika Rosalia Cianchettini (1769-1833) who worked with Marchesi in London.