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GALUPPI, B.: Keyboard Sonatas, Vol. 2 (Napoli)

Composer(s):Galuppi, Baldassare
Artist(s) Napoli, Matteo, piano
Period(s) Baroque (1600-1750)
Genre Classical Music
Category Instrumental
Catalogue 8.572490
Label Naxos
Quality   320kbps
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Venetian composer Baldassare Galuppi’s reputation rests principally on his pioneering series of comic operas. But, trained by Antonio Lotti, Galuppi was also a keyboard player of distinction who served at the court of Catherine the Great in St Petersburg. Twelve keyboard sonatas were published during his lifetime, but Hedda Illy’s catalogue lists over 100 and reveals that Galuppi not only inherited the brilliance and panache of Domenico Scarlatti but anticipated the expressive writing of Mozart. The first volume in Matteo Napoli’s series (8.572263) was commended as “a good choice for connoisseurs of 18th century keyboard music.” (MusicWeb International)

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Review By Bertil van Boer ,Fanfare,March 2012

these works show that Galuppi was cognizant of the evolution of style during his life and used it to best advantage.

[Pianist Matteo Napoli’s] playing is always finely nuanced, with expressive details emerging even during the most mechanical sequential passages. The works…seem to fit quite well on the modern piano… © 2012 Fanfare Read complete review on Fanfare

Review By DavidLeMarrec,Carnets sur sol,November 2011

Baldassare Galuppi est surtout renommé (à défaut d’être célèbre, bien sûr) pour ses opéras de type seria. Il a notamment écrit une Clemenza di Tito sur le livret de Métastase.

Dans cet opéra, Galuppi fait valoir un beau talent mélodique, avec de belles atmosphères musicales, mais sans jamais parvenir à créer une tension dramatique—alors que Mozart, tout en écrivant lui aussi essentiellement des airs en majeurs, ménage une progression franchement spectaculaire pour le format du seria de l’ère classique.


Review By Giv Cornfield, PhD,The New Recordings, Cliffs Classics,November 2011

A thoroughly delightful album from start to finish. The music often brings to mind Scarlatti—although these are fully-formed, mostly three movement works, even if mostly on the short side. They predate Mozart and Haydn, but abound in melodic inventiveness and lively, good humour that serve as the vehicles for Mo. Napoli’s sparkling virtuosity, in an ideal acoustical setting and a great-sounding Steinway-D grand piano.


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