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Alessandro Stradella, Act III: Trio

Stradella: Complete String Sinfonias

(Theatrical chamber music might appear to be a contradicti...)

Theatrical chamber music might appear to be a contradiction in terms, but the unlikely idea is fulfilled by these sparkling, highly wrought trio sonatas. For despite their title, that is what they are: most composers of the 18th century may have used the sonata designation for this form, but Alessandro Stradella employed at least several of these works as preludes or overtures to his dramatic and sacred works such as the oratorio Susanna (already recorded on Brilliant Classics, BC94345). Stradellas music, which is at last receiving something of the interest it deserves, contains passages of pure genius even in the relatively small but excellent instrumental repertoire. The sinfonia in F major numbered sixth here is a case in point, opening with a furiously agitated allegro and following with a striking union of lamenting slow and energetic quick sections. A contemplative slow movement then precedes a substantial, Handelian fugue: it is as if Stradella were working through a range of generic archetypes available to him, within the course of one 10-minute sonata. The A minor Sinfonia is rather more unified, no less witty than the F major work and again containing a thoroughly worked fugue, but now capped with a finale full of surprising dissonance. The sinfonias have been recorded here by an Italian early-music ensemble led from the keyboard by Francesco Cera, whose expertise in the field of composers in this era is attested to by a wide-ranging discography on Brilliant Classics which includes albums of music by dAnglebert (BC94793), Trabaci (BC94897), Scarlatti (BC94488) and J.S. Bach (BC94639). Of his Orgelbüchlein recording, MusicWeb International commented that Francesco Cera plays with that innate rhythm that establishes that irresistible, compelling pulse in Bach I wouldnt just want to have one recording of these works but if I had to reduce to one, it would be Cera. The same site noted of Scarlatti and Neapolitan Song that it is a most intriguing disc. Anyone interested in Scarlatti should consider it Cera delivers fine interpretations of the various sonatas on a beautiful instrument. This new CD presents the complete String Sinfonias by Alessandro Stradella, a First Recording! The music by Alessandro Stradella (1639-1682) is gaining rapidly in recognition and popularity. The composers extremely adventurous life (he was an aristocratic lady-killer, who himself was murdered in the end by a revengeful rival) and his equally adventurous music presents a forceful image of a fascinating and important figure of the Italian Baroque. Stradellas String Sinfonias are dramatic works, frequently used by the composer as an overture for his operas and cantatas. The sudden and extreme mood shifts and the expression of deep human emotions show a composer of dramatic genius. Francesco Cera is one of Italys foremost Early Music musicians. As a cembalist and conductor he built an impressive discography, for Brilliant Classics he recorded works by Trabaci, dAnglebert, Scarlatti and Bach.

Stradella: Works for Chamber Ensemble

Stradello: Santa Editta

Stradella: San Giovanni Crisostomo

Alessandro Stradella: Santa Pelagia

(CD)

Alessandro Stradella: Overture

Moro Per Amore

Vola Vola In Altri Petti

Alessandro Stradella Edit Profile

composer musician singer violinist

Background

Stradella was born on April 3, 1639 in Nepi, Italy. He was from a Tuscan aristocratic family.

Education

Stradella was educated at Bologna.

Career

Stradella apparently lived for periods in Modena, Venice, Rome, and Florence. In Turin in 1677 an attempt was made to murder him, for reasons that are not known, though it was believed to be at the instigation of a Venetian senator with whose fiancée Stradella had eloped. A document in Modena confirms his murder in 1682.

Stradella was one of the finest composers of chamber cantatas, of which 174 survive, both secular and for religious observance (e. g. , Christmas Cantata); his fresh, mellifluous melodies are frequently supported by harmonies bolder than are usually found in music of this period. Particularly interesting in his instrumental music is his novel application of concerto grosso texture to accompaniments of arias in some of his stage works and oratorios. Stradella’s legendary life, embroidered from conjecture and scanty facts, was the subject of eight 19th-century operas and of at least one novel.