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Albicastro & Boyce: Concerti and Concerti Grossi - Denis Stevens, Accademia Monteverdiana

Name: Albicastro & Boyce: Concerti and Concerti Grossi - Denis Stevens, Accademia Monteverdiana
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Albicastro: Concerto a 4 in B-flat Major, Op. 7, No. 6 I. Grave - Allegro - Adagio - Grave - Allegro - Grave

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Albicastro: Concerto a 4 in B-flat Major, Op. 7, No. 6 II. Allegro

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Albicastro: Concerto a 4 in B-flat Major, Op. 7, No. 6 III. Grave e spiritoso - Adagio

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Albicastro: Concerto a 4 in B-flat Major, Op. 7, No. 6 IV. Allegro

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Albicastro: Concerto a 4 in B Minor, Op. 7, No. 7 I. Affetuoso - Allegro - Adagio - Spiritoso

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Albicastro: Concerto a 4 in B Minor, Op. 7, No. 7 II. Allegro

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Albicastro: Concerto a 4 in B Minor, Op. 7, No. 7 III. Grave

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Albicastro: Concerto a 4 in B Minor, Op. 7, No. 7 IV. Allegro - Da capella - Allegro

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Boyce: Concerto Grosso in B Minor I. Staccato

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Boyce: Concerto Grosso in B Minor II. Largo

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Boyce: Concerto Grosso in B Minor III. Allegro

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Boyce: Concerto Grosso in B Minor IV. Adagio

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Boyce: Concerto Grosso in B Minor V. Minuet

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Concerto Grosso in B-flat Major I. Largo

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Concerto Grosso in B-flat Major II. Allegro

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Concerto Grosso in B-flat Major III. Largo

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Concerto Grosso in B-flat Major IV. Allegro

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Concerto Grosso in B-flat Major V. Gavotte

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Enrico Albicastro, William Boyce liner notes

ENRICO ALBICASTRO The beneficent and quasi-magical properties of an Italian name have for so long been known to musicians that history provides us with many examples of composers who attempted to improve their reputation by the simple expedient of adapting or adopting names as a temporary or permanent measure. The Englishman John Cooper signed his works Coperario, the Bohemian Rossler used the nome de plume of Rosetti, and even the Frenchman Couperin produced his earliest sonatas under a fictitious Italian name formed by anagram from his own. It is not very surprising to find in seventeenth-century Switzerland a well-to-do yet talented violinist and composer, Heinrich Weissenburg von Biswang, translating his family name into Italian (Weissenburg=Albicastro) and setting out on a career in the Low Countries as one of the itinerant oltremontani who fed the busy presses of Roger and Witvogel in between a concert schedule relatively as demanding as those known to virtuosi of our own time. ...WILLIAM BOYCE Although Boyce's most enduring monument was his historical collection of Cathedral Music, which began publication in 1760 and profoundly influenced "choirs and places where they sing" for the next century and a half, he deserves to be remembered also for his excellent instrumental music. His published sets of Voluntaries and Trio Sonatas were great favorites of their time, and recent revivals of his Eight Symphonies (mostly overtures to sacred or secular works of various kinds) and Twelve Overtures (culled from court odes) demonstrate his instinctive feeling for orchestral color in addition to nobility of contrapuntal thought. The early stages of Boyce's career were not unlike those of Purcell, Greene, and Handel, where the slender rewards of an organ appointment were helped out by fees from the theatre and the pleasure gardens. Much of Boyce's orchestral music was performed at Drury Lane, Vauxhall, and Ranelagh, and whenever a complete band was lacking a group of four musicians would play his Trio Sonatas. whose tuneful elegance endeared them to musicians of every class.

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