Carlo
Ignazio Monza
Keyboard Music Harpsichord
Deux-Elles DXL1117
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Fanfare
Magazine FEB 2010
You may be asking: who in the world
was Carlo Ignazio Monza (1710-1739), and why do we need a recording of his
harpsichord music? Quite honestly, prior to the appearance of this CD, I
hadn’t heard of him either. But I’ve definitely heard his music
before, and you probably have, too. Seems Monza’s harpsichord pieces
were first published in 1771 by the famous London firm of Longman &
Broderip; in order to increase sales, the publisher rather fraudulently
passed them off (together with the works of several other composers) as
the work of Pergolesi. It is precisely this collection, along with a
second from 1778, which Igor Stravinsky discovered in 1920 while searching
for suitable music for his ballet Pulcinella. About twenty pieces (or parts thereof) made it into the
ballet, including two movements from Monza’s Pièces modernes:
the Air from the E major Suite, and the
Gavotte and 6 Doubles from the Suite in D (Stravinsky used only two of the
Doubles). The misattribution did not stop there; three of Monza’s suites
were erroneously included in the collected edition of Pergolesi’s works
in 1940.
Despite his short lifespan, Monza
wrote many operas and composed extensively for the church. Both activities
took him all over Italy: Turin, Milan, Naples, Messina, Ancona, Venice,
Bologna, Florence and Rome. In Turin, it is speculated that he came into
contact with a nephew of François Couperin, who may have been Monza’s
inspiration to write in the French manner. Monza’s keyboard music is
quite a bit more international-sounding than might be expected from an
Italian opera composer of the period: in fact, much of it bears an eerie
resemblance to the keyboard music of that other great internationalist,
George Frideric Handel. Just listen to the Air and 13 Doubles and see if
you don’t agree: the piece sounds uncannily like an alternate version of
Handel’s Chaconne and 21 Variations (“The Harmonious Blacksmith”).
Same passagework, same harmonic structure, nearly identical themes, same
cumulative bravura effect, but
in less than two-thirds the space. Of course, there is no evidence that
Monza was influenced by Handel, or even heard his music. But if the two
had ever met, I’m sure Handel would have been impressed, and perhaps a
little jealous.
The CD gets off to a slow start with
a less-than-inspired Prelude to the E major Suite (Monza’s fault, not
the harpsichordist’s), but builds from there. The concluding Air is
delightful—I’m sorry, Igor, but I like the original better. The C
minor Suite, full of drama and Germanic seriousness, starts with an
imposing fantasia-like Prelude and is followed by an Allemande and Double,
Gavotte, Gigue and Menuet that could have been written by Sebastian Bach.
The D major Suite is another winner—it includes a rousing, Scarlatti-esque
Le Reveille-matin and concludes
with the aforementioned Pulcinella Gavotte—the latter had me dancing around the room by
the time it was over. Tacked on the end of the program “for variety”
are two pieces by Bartolomeo Molinari (c.1663-1697) and one by Bernardo
Pasquini (1637-1710). Frankly, I would have preferred more Monza instead.
Terence Charlston is a
highly-regarded British harpsichordist whose credits include a recent tour
of duty as continuo player with London Baroque, with whom he made several
well-received CDs on the BIS label. He is also Professor of harpsichord at
the Royal College of Music, London. The playing on this CD is nothing
short of miraculous: exciting, expressive, rhythmically taught, with every
piece gauged to perfection. Charlston has several other CDs to his credit
on the rather obscure Deux-Elles label. I regret that they have escaped my
notice, but I’ll be on the lookout in the future—he is obviously a
major, major talent.
The harpsichord is a
terrific-sounding copy of the single-manual Guisti in the Smithsonian
Institution, Washington, D.C. Italian harpsichords usually have a rather
attenuated treble—but this one doesn’t. It positively sings in the
upper register, and together with the imposing bass register (down to G1), makes for some impressive
sonorities. Typical for an Italian instrument of the period, there are
only two 8’ stops, which does not allow for a lot of variety. But
Charleston’s skillfully varied playing makes up for this to a large
extent. The harpsichord is tuned to a custom meantone temperament, the
exact methodology of which is explained in the booklet. For most
listeners, such technical details are secondary; what matters is that the
tuning enhances the sonority of an already fine instrument. Nicely done
recording: fairly close-up microphone placement but enough room acoustic
to keep us grounded in reality.
I’m tempted to say that if you buy
only one harpsichord CD this year, it should be this one. In truth, there
have been so many excellent harpsichord discs of late that it would be
foolish to limit yourself. Buy it anyway: this is unabashed “comfort
food” for lovers of the harpsichord. Christopher
Brodersen
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Recording of the Month, Music-web International, Dec 09
From: http://www.musicweb-international.com/classrev/2009/Dec09/Monza_dxl1117.htm
Terence Charlston is an adventurous keyboard
player. He likes to explore hardly-known repertoire as his recording of
the keyboard works by the English composer Albertus Bryne proves (review).
This time he has turned his attention to Italy, to keyboard music by Carlo
Ignazio Monza.
The fact that most of the compositions recorded here are called 'suites'
is rather surprising. Monza was an Italian composer, but used a form which
was French in origin and not used in his own country. His suites were
printed under the title 'Pièces Modernes Pour le Clavecin'. And if that
is not enough he used the French form of his first Christian name:
Charles. This calls for an explanation.
Contemporary libretti refer to Monza as 'the Milanese'. He was born
probably in Monza, near Milan. Little is known about his early years, but
we know that his oratorios and operas were performed not only in Milan,
but also in other cities, including Venice and Rome. In 1729 he became a
member of the prestigious Accademia Filarmonica in Bologna. In the last
years of his life he was active as a canon and choirmaster in Vercelli in
Piedmont.
This city is close to Turin, the capital of the duchy of Savoy. The
Piedmontese court had strong ties with Paris and a number of French
aristocrats lived in Turin. A nephew of François Couperin, Marc Roger
Normand, served as court organist from 1689 to 1734. So the strong French
influence in Savoy is the most likely explanation of the character of
Monza's keyboard works. The date and place of the publication of his
suites is not known, but could well be Turin.
It is very likely you never have heard of Monza. But his music was not
unknown: in his ballet Pulcinella Stravinsky used 20 fragments from
works by Giovanni Battista Pergolesi. Two of these were in fact from the
pen of Monza. This mistake was not his fault, though: in 1771 and 1778 the
English publisher Longman printed two selections of Monza's keyboard works
under the name of Pergolesi. As was so often the case he made use of the
huge popularity of Pergolesi to increase sales.
Although Monza's suites reflect the French style there is quite a lot of
variety in the pieces Terence Charlston has chosen. The prelude from the
Suite in E, for instance, is majestic, and its dotted rhythms refer to the
Lullian opera overture. The prelude of the Suite in D, on the other hand,
is a virtuosic display of ascending and descending scales, which is
reminiscent of the 'préludes non mesurés' by French composers like Louis
Couperin. And then the prelude of the Suite in C is very different again,
with the right hand playing a melody and the left hand being reduced to a
chordal accompaniment. This sounds considerably less French and reflects
the modern galant style of the mid-18th century.
A number of movements are very virtuosic. I have already mentioned the
prelude from the Suite in D, and this same work also contains two other
virtuosic movements, Le Reveille-matin - a character piece as many French
composers included in their suites - which Terence Charlston compares with
the style of Domenico Scarlatti, and the concluding Gavotte with 6
doubles. The Suite in C ends with another series of variations, the Air
with 13 doubles, and this is even more technically challenging. This
reminds me of the way Handel writes variations for the keyboard, for
instance the Chaconne with 49 variations in C.
The Prelude and fugue in f minor are also interesting. The prelude is a
kind of toccata and in the second half we hear an episode with very strong
dissonances, which makes one think of the Toccata VII by Michelangelo
Rossi (1601/02-1656). Like the opening of the Suite in C the fugue doesn't
sound like a typical baroque piece but rather looks forward to a later
style.
Terence Charlston has added some pieces by two Italian composers of a
previous generation. "Both represent a style of keyboard playing
influential in Italy at the time of Monza's youth but already on the wane
by the time his suites were published", he writes in the programme
notes. Bartolomeo Monari da Bologna was - as his nickname indicates - from
Bologna where he seems to have spent his whole life. Like Monza he was a
member of the Accademia Filarmonica. The prelude and fugue recorded here
are both entitled 'sonata' in a collection of pieces by various authors,
printed in Bologna around 1687 and published in England in a collection
with 'Voluntarys & Fugues' in 1710.
Bernardo Pasquini was one of the greatest keyboard virtuosos in Italy in
his time. He worked mostly in Rome, where he frequently played with
Corelli and probably also has met Handel.
For this recording Terence Charlston has chosen an Italian harpsichord,
despite the strong French character of Monza's harpsichord works. He
admits that a French 17th-century harpsichord also had been an option. It
would be interesting to know whether the French taste at the Piedmontese
court included the use of French harpsichords. Anyway, the harpsichord
used here is a fine instrument and well suited to play the music on this
disc. In several movements, for instance the allemande of Monza's Suite in
D, but also in the 'prelude and fugue' by Monari the temperament of the
harpsichords creates some harmonic tension which is probably exactly what
the composers intended.
In order to convince an audience that music has unjustly been neglected it
is essential that it receives the best possible interpretation. And that
is exactly what we get here. Like in the previous recording with music by
Albertus Bryne this disc is an ear-opener which presents these suites in
their full glory. This is simply splendid music, and Terence Charlston's
performance is outstanding. Charlston is also a gifted musicologist: he
plays the prelude of the Suite in c minor twice, with different
interpretations of a symbol used in the print of this prelude. In 2009 his
edition of the whole collection is also published.
This disc is an ideal combination of first-rate music and performance, a
beautiful instrument in an appropriate temperament and lucidly-written
programme notes. The booklet contains all the technical information one
needs, including the sources of all the pieces in the programme.
Johan van Veen
Read more: http://www.musicweb-international.com/classrev/2009/Dec09/Monza_dxl1117.htm#ixzz0tbGBF3K3
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