Customer Reviews

Veracini: 5 Overtures

5 star:		(4)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This recording of Francesco Maria Veracini's orchestral concerti is yet another of Reinhard Goebel's and Musica Antiqua Köln's outstanding performances of the music of the Dresden Court. The effect a period-instrument performance has on the quality of the recording can only be described as "electrifying". Veracini combines good Dresden solidity with wisping, virtuosic Italian brio and gusto. A true fiery rival for the stale, traditional repertoire of Vivaldi, Bach, and Handel. Another marvellous, incredible feat to the honorable credit of the performers and a genuine gift to the friends of music. END

These very delightful and pleasant "Overtures" - written by the not much recorded Italian composer F. M. Veracinis (1690-1768)- are well performed by Reinhard Goebel and his period-performance specialist orchestra Musica Antiqua Cologne. A winning and lively recording. If you are a great fan of baroque music this is the CD to go for.

The best compliment I can pay these five overtures (concerti grossi, really) by Franceco Maria Veracini is to say they have a Handelian melodiousness about them that raises them above similar efforts by Geminiani, for instance. Maybe it's the fact that Veracini wrote these works for Dresden, where they may have liked a good tune more than Italian theatrics. Whatever the cause, these works are clouded by few minor-key excursions (except in No. 6 in B-flat major, which seems almost to spend more of its time in related minor keys than in the major key) and have an overall bonhomie and even playfulness that bring them far closer to Handel's idiom than to that of Vivaldi or Bach. Perhaps the most winningly Handelian of all is No. 3. Incidentally, No. 6, the darkest of the lot, is also the least attractive and has a downright grating final minuet; this piece may have been a failed experiment by Veracini.

If the Overtures aren't great music, I think they are very good music, and Goebel makes a very good case for them, with the exception of No. 6. Then again, you may not agree with my assessment; you may find No. 6 winning as well. In any event, this disc is certainly worth a try, and Veracini is a composer worth getting to know.

One does not have to be a Baroque enthusiast to love this music. It is always a memorable event if one discovers unknown music in a beautiful performance. This is exactly what you get if you listen to this CD for the first time. These are not Bach or Telemann Overtures, they rather reflect the Italian spirit that was alive at the Dresden court in the early 18th century. It is difficult to escape the charm and rhythm of this music.

First, you'll notice that Goebel did not include the Ouverture number 5 on this CD. If you want to listen to it, you"ll have to buy the "Concerti per l'orchesta di Dresda" (Musica Antiqua Koln, R. Goebel, 1995, Archiv 447664-2). L'ouverture numéro 5 is the most curious, disorienting and frantic piece I ever heard from Veracini. After listenig to the latter, I decided to buy the other ouvertures of Veracini which are on this CD. Trully, I was disappointed. Why ? Because this mucic gives me headaches and make me irritable. The main problem is that the movements are repetitives. Sometimes, I thought it was a perfect replica of the previous movement. Goebel should have recorded some concertos of Veracini and incorporated them between the ouvertures. The result would have been, perhaps, less aggressive for the listener.

Now the good points: the sound is rich, deep and the orchestra play with great autorithy.

I'm realy fond of suite number 3, with was reinforced with this interpretation. Largo-Allegro (11) sounds unusual, like "rebel" baroque. Reinhard Goebel find the real sound of Veracini, transforming boring melodies on very colored sounds.

With this CD, i rediscover Veracini like a Vivaldi, Lully composer. Reinhard Goebel use the same method with the BGM of "Le roi dance" with help me to rediscover lully too.

David from France.