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The origin of the dialogue between a solo voice and several obbligati instruments dates from the early baroque period (1600), and probably emerged from the hum drum setting of the market square where a singer would perform to the accompaniment of a few wind instruments. More refined relations of this musical form soon could be found in sacred and operatic works. This CD contains the complete obbligato arias by master and pupil -- J.C Bach and Mozart. Therefore we can hear examples of the pre classical (1750-75) and the classical period (1775-1820).
There is one undisputed masterpiece here -- Mozart's Ch'io mi scordi di te? K505 for soprano and piano. The aria is an expression of personal sadness. Nancy Storace, the first Susanna in Figaro, had left Mozart and returned to London. This is no operatic love affair gone wrong, but a real life one. Mozart himself is represented by the piano, Nancy by the stunning soprano role.
Mozart's friend and teacher J.C. Bach has a world premiere recording on this CD. His aria Sventura in van mi lagno of 1773 is an impressive virtuoso work for high soprano with two obbligato horns. One of the players J.C Bach wrote for was none other than Giovanni Punto, hence the extremely challenging nature of the horn part for a natural horn. (Brilliant notes)
There is one undisputed masterpiece here -- Mozart's Ch'io mi scordi di te? K505 for soprano and piano. The aria is an expression of personal sadness. Nancy Storace, the first Susanna in Figaro, had left Mozart and returned to London. This is no operatic love affair gone wrong, but a real life one. Mozart himself is represented by the piano, Nancy by the stunning soprano role.
Mozart's friend and teacher J.C. Bach has a world premiere recording on this CD. His aria Sventura in van mi lagno of 1773 is an impressive virtuoso work for high soprano with two obbligato horns. One of the players J.C Bach wrote for was none other than Giovanni Punto, hence the extremely challenging nature of the horn part for a natural horn. (Brilliant notes)
contents:
1 - J.C.Bach - Ebben, Si Vada for soprano, oboe, fortepiano and orchestra
(1 oboe ripieno, 1 bassoon, 2 horns in D, strings)
2 - W.A.Mozart - Ah, lo previdi, K 272 for soprano, oboe and orchestra
(1 oboe ripieno, 2 horns in E-Flat, strings)
3 - J.C.Bach - Sentimi, non partir, for soprano, 2 cellos, fortepiano and orchestra
(2 flutes, 2 clarinets in B-Flat, 2 horns, strings)
4 - W.A.Mozart - Per questa bella mano, K 612 for bass, double bass and orchestra
(1 flute, 2 oboes, 2 bassoons, 2 horns in D, strings)
5 - J.C.Bach - Sventurata, in van mi legno for soprano, fortepiano and orchestra
(2 clarinets in B flat, 2 bassoons, 2 horns, strings)
6 - W.A.Mozart - Ch'io mi scordi di te, K 505 for soprano, violin and orchestra
(2 clarinets in B-Flat, 2 bassoons, 2 horns in B-Flat, strings)
7 - W.A.Mozart - Non più…tutto ascoltai, K 490 for soprano, violin and orchestra
(2 clarinets in B-Flat, 2 bassoons, 2 horns in B-Flat, strings)
Hiroko Kouda, soprano
Hjördis Thébault, soprano
Gustáv Belác'ek, bass-baritone
Solamente Naturali
dir. Didier Talpain
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