Skip to main content

Los Últimos Trios

Luigi Boccherini wrote in excess of a hundred string quintets, nearly a hundred string quartets, and sixty-odd string trios. Not to mention all his piano trios, piano quintets, flute quintets, guitar quintets and assorted sonatas; nor the dozen cello concertos & thirty symphonies. He wasn't shy about reusing and recycling sections of earlier works in later ones, but even so, he turned out a prodigious quantity of music, which makes its consistently high quality all the more impressive. The present disc includes four of his last string trios, written in Madrid in 1796.

The default string trio line-up is violin, viola and cello, but these pieces were composed for two violins and cello, played here by the group La Real Cámera comprising Emilio Moreno and Enrico Gatti (violins) plus Wouter Möller (cello). Moreno is also responsible for the booklet notes in which he characterises trios written for this instrumentation as "a difficult, arid and obsolete form ... a remnant of the old baroque trio sonata." Out of this tricky fabric, Boccherini fashioned some characteristically elegant and graceful results.

It's not my very favourite Boccherini album, but it is one I keep returning to, especially for the first two trios on it: nos. 2 and 4 of the Op. 54 set. It's a well-presented disc too: a 2005 re-issue of a 1995 recording on the Glossa label in a three-panel 'digipak' with a detail of a Goya painting on the cover, and including a 36-page booklet. The cover choice is an appropriate one, as Boccherini and Goya were contemporaries, whose paths are known to have crossed on at least a couple of occasions.

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Complete String Quartets

While the string quartets of Nikolai Yakovievich Myaskovsky (1881-1950) were all published in the Soviet era, a few of them had pre-revolutionary origins. Two quartets he wrote in 1911 and '09 while a conservatory student re-surfaced some twenty years later designated as Quartets Nos. 3 and 4.  An even earlier "schoolboy" piece was later re-worked more radically as Quartet No. 10, premiered in 1945. Myaskovsky partook of an ample share of the turmoil and tragedy of his times: he was wounded and shell-shocked after service on the front line in World War I, and his father, who had been a high-ranking military engineer, was brutally murdered by a revolutionary mob. Despite that, his music, even at its most sombre, hasn't the black bile or biting sarcasm of Shostakovich's, or of his friend Prokofiev's. Of the works collected here, in excellent early '80s performances by the Taneyev Quartet, only Quartet No. 1 has any significantly metallic tang of early S...