Notes and Editorial Reviews
It is quite likely that Giuseppe Cambini influenced the Parisian milieu with his typically Italian originality. He is regarded as a pre-Romantic composer not only because he anticipated the era of Beethoven, Schubert, Schumann and Chopin, but above all because of his pensive search for expression. This is the “Italian-style Romanticism” that Boccherini had forestalled in his isolation at the Spanish court. This music belongs to a “graceful, light, rococo style” that is not suitable for expressing the dramatic aspect of emotions, except in a few passages in minor tonality: the harpsichord predominates, the violin and oboe accompany it, with occasional solo parts, and the cello doubles the bass. The handwritten word “quartetti” therefore
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indicates a style that is different from that of the Baroque sonata a tre, where the harpsichord and the cello were confined to the accompaniment. The trio – originally for flute, oboe and bassoon – belongs to a collection of six trios, op. 45, that are very well-crafted, brilliant, with occasional hints of sadness. Rather than pre-Romantic, this music is the climax of the classical chamber-music era. Read less
Works on This Recording
1.
Quartets (5) for for Harpsichord, Violin, Oboe and Cello by Giuseppe Maria Cambini
Performer:
Serena Mancuso (Cello),
Giuseppe Nalin (Oboe),
Marco Vincenzi (Harpsichord),
Marcello Defiant (Violin)
Orchestra/Ensemble:
Sans Souci Ensemble
2.
Trios (6) for Flute, Oboe and Bassoon, Op. 45: no 5 in D major by Giuseppe Maria Cambini
Performer:
Giuseppe Nalin (Oboe),
Serena Mancuso (Cello),
Marcello Defiant (Violin)
Orchestra/Ensemble:
Sans Souci Ensemble
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