American Record Guide
Baldasarre Galuppi (1706-85) is a name you rarely encounter these days—at least not in concerts. He was a Venetian who wrote in a variety of forms, including opera, and is rough¬ly contemporary with CPE Bach, Gluck, and Domenico Scarlatti. This series has now reached its fourth volume, but ARG has apparently only reviewed Volume 2, and that was some 17 years ago. Alexander Morin found the sonatas monotonous and uninspired, but admired the playing of Seivewright (S/O 2001). My take on them is somewhat different.
As the exceptional notes by the pianist point out, the three-movement Sonata in D that opens this program was something quite distinguished and forward-thinking in the era it was composed. It may not sound so now, but at the time the movements would have shown considerable imagination and pointed toward the romantic era. The other seven sonatas are quite delightful and, considering the chug along of many baroque pieces of the era, manages to hold one’s interest and attention. That D-major Sonata, by the way, concludes with a theme and variations.
These sonatas sound nothing like Scarlatti’s. Yes, they are galant in style, but quite refreshing, and manage to keep things less complex. Perhaps that earlier volume contained music of a decidedly lesser quality?
Listed as a bonus is the Piano Concerto in G. In three movements, but taking a brief 8 minutes, the concerto makes no effort at profundity. It charms as a sort of concerto in miniature, but listeners will not be pleased with the short time of the disc. Still, this can be recommended for the skill of the performer and the delightful creativity within the confines of the historical period. Two pianos are used: a Bosendorfer Imperial and a Steinway D.
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