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albicastro, henrico (1661-1730)  -  Concerti a quattro op.7

  • Format : CD x 2

  • Etat général : neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : PAN Classics 510 124
  • Pressage : UPC/EAN: 7619990101241 - Switzerland
  • Année : 2001
  • Commentaire : Albicastro: 12 Concerti A Quattro / Luks, Collegium 1704, Et Al Release Date: ... Voir plus bas

  • Quantité disponible : 1
Commentaire du vendeur :
Albicastro: 12 Concerti A Quattro / Luks, Collegium 1704, Et Al

Release Date: 07/29/2001
Label: Pan Classics Catalog #: 510 124 Spars Code: DDD
Composer: Henricus Albicastro
Performer: Václav Luks, Riccardo Minasi
Conductor: Václav Luks
Orchestra/Ensemble: Collegium 1704
Number of Discs: 2
Recorded in: Stereo
Length: 1 Hours 48 Mins.

Works on This Recording

1. Concerti à quattro (12) for 2 Violins and Basso Continuo, Op. 7 by Henricus Albicastro
Performer: Václav Luks (Harpsichord), Riccardo Minasi (Violin)
Conductor: Václav Luks
Orchestra/Ensemble: Collegium 1704
Period: Baroque

Notes and Editorial Reviews

This Czech Republic production, recorded in 2000 in the Dvo?ák Hall of Prague's Rudolfinum, combines the forces of two Czech period-instruments ensembles—Collegium Marianum and Collegium 1704, which, according to the credits, frequently collaborate on larger projects.

Stylistically, Giovanni Henrico (Henricus) Albicastro (c. 1660–1730) falls roughly into the period midway between Corelli and Vivaldi, except that he wasn't Italian. The name was made up, a nom de plume for Johann Heinrich von Weissenburg. Nobody seems to know for sure or to agree on exactly when he was born or died (some saying as late as 1738) or, for that matter where. Most sources, including Thomas Krümpelmann's booklet note, place Albicastro's birth in Switzerland. Others say the Netherlands, and at least one article I came across insists on Bavaria, even naming the village of Pappenheim, as Albicastro's place of origin. What is known for fact is that sometime after 1686 his name begins cropping up in the Netherlands on publications of trio sonata and concerto collections printed in Amsterdam and Bruges.

While details surrounding Albicastro's background and training remain a mystery, it's not difficult to surmise how a Swiss/Bavarian/Dutch musician living in the Netherlands in the first half of the 17th century morphed into an essentially Italian Baroque composer. Amsterdam was at that time an important center of the music publishing industry. Corelli's famous set of 12 Concerti grossi, op. 6, saw their first printing there in 1714 by the firm of Etienne Roger. Nor was Corelli the only Italian composer whose works were being published in Amsterdam. In 1715, Roger printed Albinoni's op. 7 Concertos; and even earlier, in 1711, Vivaldi sent his L'estro armonico directly to the same publishing house for printing. Albicastro had to have seen these scores and possibly have heard them performed. So thoroughly did he absorb the Italian style and manner that his own op. 7 heard on these discs is indistinguishable from the models he emulated.

Albicastro's 12 Concerti a quattro occupy a kind of middle or transitional ground between the concerto grosso proper and the solo concerto formats. There is not the same formalized division between the solos or concertino group and the larger ripieno as one expects in a true concerto grosso. A solo violin—sometimes an oboe—is cast in the role of the contrasting or alternating concertino. These are not yet, however, full-blown solo concertos in the manner of Vivaldi. Albicastro's approach seems to lie somewhere along the evolutionary path that led from the former to the latter.

If you are fond of Corelli and Vivaldi and everything in Italian concerted instrumental music in between, you will enjoy Albicastro's concertos. They are energetic, bracing, buoyant, and full of that wonderful Italian cantabile melody that sings of Italy's sun-drenched vineyards and eternal hills, even if they were written in flat, waterlogged Holland.

Readers who know of my general disinclination towards period instruments, especially in music written after circa 1760, will be pleased to know that the ensembles involved in these recordings exhibit none of the bad habits or eccentricities that are often associated with such performing bodies. Tempos are never too brisk; there is no swelling on notes or abrupt attenuations at ends of phrases and cadences; there is no astringency to the sound of the strings or nasality in the sound of the oboes. This is well-behaved and highly cultivated playing.

According to the insert, this is the first complete recording of Albicastro's op. 7; and as far as I know it has remained the only one since it was set down nearly a decade ago. It is highly recommended and without reservations.
-- FANFARE: Jerry Dubins

Review by Uncle Dave Lewis [-]
In a time when national affiliation was necessarily written in stone, Henricus Albicastro was a genuine multi-national. Born in Bavaria to Swiss parents, Albicastro was what was then called a dilettante, not an unfocused dabbler but a musician whose day job was in another field, and in Albicastro's case that living was made astride a horse; he was a captain of the cavalry in the Dutch Republican Army in the War of the Spanish Succession. He also served as an orchestra leader at the University of Leiden in the 1680s, and as such, he is identified as "Viennensis Musicus adcademiae" in contemporary documents, suggesting his musical education occurred in Vienna. A tendency toward the use of oddball harmonic devices and especially florid violin writing indicates possible contact with the school of Biber and Muffat, but that element is miniscule compared to the influence of Arcangelo Corelli and the Italian model. Nevertheless, there are ways in which these concerti do not behave typically; there is an emphasis on tutti writing, and solo passages are sparingly used.
Pan Classics' Henrico Albicastro: 12 concerti a Quattro Op. 7 is the first opus of Albicastro recorded complete and the first substantive program of Albicastro to appear on disc since 1990. It features two combined groups, Collegium Marianum and Collegium 1704, led by harpsichordist Václav Luks and featuring violin soloist Riccardo Masahide Minasi; both ensembles hail from Prague. This recording, in fact, was made in the Rudolfinum in Prague, but in 2000; it did not come out on Pan until 2007. Seven years is a heck of a long time for anything to sit in the can, so long that since then Minasi has left Collegium 1704 and joined Il Giardino Armonico. Admittedly, it is a good, though not great recording; the combined ensembles lack cohesion. Allegros tend to be a little wilted and underpowered; slow movements fare better. However, quite a bit of Albicastro's music is highly extraordinary; witness the fall sequences in the finale of the Concerto I in F, the proto-minimalistic texture of the movement marked Tremolo, Spiccato, Adagio in the Concerto III in C, and the sweet, pop-like harmonies in the oboe-driven Adagio of Concerto IV in C minor. Therefore, there is reason to want to seek out Pan Classics' Henrico Albicastro: 12 concerti a Quattro, Op. 7, especially if Baroque instrumental music is one's bag; hopefully this won't be the last we hear from the musical Cavalier of Leiden.


M. Hengelbrock in FonoForum 3 / 02: "Eine ebenso kundige wie lebhafte Darbietung, in der einerseits Albicastros souveräner Umgang mit dem kompositorischen Material, andererseits aber auch große Spielfreude und tiefe Klang- sinnlichkeit gut zum Tragen kommen. Luks schärft Kon- traste, ohne die Gestaltung zum Selbstzweck verkommen zu lassen, und arbeitet das jeweils Besondere der einzelnen Konzerte angemessen heraus."

Eine abwechslungsreiche Aufnahme, die neben angenehmer Kurzweil auch eine schöne Darstellung hoher Kunstfertigkeit bietet.
Concerto 5 / 2002

Luks gelingt eine ebenso kundige wie lebhafte Darbietung, in der einerseits Albicastros souveräner Umgang mit dem kompositorischen Material, andererseits aber auch große Spielfreude und tiefe Klangsinnlichkeit zum Tragen kommen.
Fono Forum 3 / 2002

Die zwei Cds mit Albicasros Musik möchte ich nicht missen!
Alte Musik aktuell, 4 / 2002

Große melodische Erfindungskraft, rhythmische Brillanz, vor allem aber eine Experimentierlust, gespickt mit harmonischen Schärfen und unvermuteten Wendungen machen die zwölf 'Concerti a quattro' Op. 7 des Henrico Albicastro zu einer großen Entdeckung. In den Musikern des in Prag ansässigen Collegium Marianum und des Collegium 1704 hat seine Musik ideale Interpreten gefunden. Hingebungsvoll erzmusikantisch wird da gespielt, vibrierend mit packendem Furor und virtuoser Eleganz. Überzeugend ist auch die Balance aus griffiger Attacke und klangsinnlicher Opulenz.
nmz, 7 / 8 2002


Seit seinem Auftritt als Nebenfigur im Historienroman-Bestseller Secretum ist Henrico Albicastro (1661-ca. 1730) auch einer breiteren Öffentlichkeit ein Begriff geworden. Nach wie vor ist nur wenig über seine Herkunft und sein Leben bekannt. Er muss aber ein hervorragender Geiger gewesen sein, wie die hohen spieltechnischen Ansprüche in seinen veröffentlichten Werken belegen. Unter der Leitung von Václav Luks spielten die Ensembles Collegium Marianum und Collegium 1704 im Jahre 2000 Albicastros zwölf Concerti a quattro Op. 7 zum ersten Mal ein und ernteten einstimmiges Lob in der Presse. Neu und ansprechend gestaltet, ist diese verdienstvolle Einspielung jetzt wieder erhältlich.

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