Magnatune have released an album by the Polish ensemble, Nova Casa and
they play some Brescianello. The tracks are here:
http://magnatune.com/artists/albums/novacasa-leclair/
I've just been listening to the Concerto Terzo - and I've been plonking
through the 18 Sonatas for gallichon, on a modern reproduction of a
gallichon.
Just a quick, amateur reaction - the concerto and the gallichon sonatas
do seem to come from different worlds. Maybe I've got two entirely
different Brescianellos mixed up! Anyway, the concerto
with harpsichord and theorbo continuo, seems wholly 'Baroque' in
conception but the sonatas seem much more 'modern'.
Or maybe other people would disagree? Or maybe he wrote the gallichon
sonatas at the end of his life (a bit like Geminiani writing fro the
English guitar).
Stuart
Arthur Ness wrote:
It seems to me that one needs some very serious
evidence before attempting to claim that Brescianello did not
compose the 18 "sonatas" for gallichon that carry his name.
Brescianello was chamber violinist to Crown Prince Friedrich
Ludwig of Württemberg, who was a
trained musician and held private
concerts in his quarters twice daily. His
library of music, the largest to survive intact from the 18th
century,
has some 300 pieces for lute, alone. The library was inherited by his
daughter Princess Luise Frederica, an accomplished lutenist and
coloratura, who brought the collection to Rostock (it is now in
the University Library). It demonstrates the
currency of lute and lute music at the Stuttgart court.
A successor Duke Karl Eugen spent his youth at the court of
Frederick the Great. When he succeeded, he brought Joh Friedrich
Daube (student of Baron, Quantz--he also played flute--and
CPEBach--he was a leading music theorist) with him as his court
lutenist. Daube also played and published music for the mandora.
At the very same time (1744), Karl Eugen promoted Brescianello
from chamber musician to Rathskapellmeister. If
Brescianello didn't play plucked instrument, he surely had a
leading exponent at his side. And Princess Luise might also have
been the intended recipient.
Why would anyone forge Brescianello's name to music he
did not compose? What would be gained thereby? He was a
versatile composer, writing masses, cantatas, loads of chamber
music, symphonies etc. And was surely
capable of writing those sonatas.
You'll need to provide more to convince me. WHERE'S THE
EVIDENCE?
Or as Stuart asked, "What's the story?"
=AJN (Boston, Mass.)
----- Original Message ----- From: "Gregory Doc Rossi"
<[EMAIL PROTECTED]>
To: "Stuart Walsh" <[EMAIL PROTECTED]>
Cc: "Peedu Timo" <[EMAIL PROTECTED]>; "Roman Turovsky"
<[EMAIL PROTECTED]>; <lute@cs.dartmouth.edu>
Sent: Wednesday, January 23, 2008 12:15 PM
Subject: [LUTE] Re: mandora/gallichon music
The usual - he copped it from someone else. I heard it from
Pietro Prosser, I think.
On Jan 23, 2008, at 6:02 PM, Stuart Walsh wrote:
Gregory Doc Rossi wrote:
On Jan 23, 2008, at 3:29 PM, Stuart Walsh wrote:
I'm probably too late to thank Brescianello for writing it.
Don't worry, Stuart, lots of people think he probably didn't
write it anyway...
Good grief! I barely know who he is, let alone that it was
probably someone else anyway.
What's the story?
Stuart
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