Dan Laurin, Masaaki Suzuki – Early Italian Chamber Music (2005)

Artist:
Title: Early Italian Chamber Music
Year Of Release: 2005
Label: BIS
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 01:08:21
Total Size: 370 Mb
WebSite:
Tracklist:

Dario Castello (fl. early 17th century)
[1] Sonata prima for recorder and basso continuo
Giovanni Battista Fontana (?-1631)
[2] Sonata seconda for recorder and basso continuo
Bartolomeo Montalbano (1596?-1651)
[3] Sinfonia Prima: Arezzo for recorder and harpsichord
Giovanni Paolo Cima (c.1570-after 1622)
[4] Sonata seconda for recorder and basso continuo
Tarquinio Merula (1594/5-1665)
[5] Sonata prima for recorder and basso continuo
Giovanni Bassano (1558?-1617)
[6] Ricercata Ottava for recorder
Angelo Berardi (c.1636-1694)
[7] Canzone Sesta for recorder and basso continuo
Bartolomeo Montalbano
[8] Sinfonia Quarta: Geloso for recorder and harpsichord
Giovanni Luca Conforti (1560?-1608)
[9] Laudate Pueri for recorder and basso continuo
Giovanni Paolo Cima
[10] Sonata prima for recorder and basso continuo
Girolamo Frescobaldi (1583-1643)
[11] Canzona terza for organ
Two canzoni for recorder and basso continuo
[12] Canzona Prima ‘La Bonuisia’
[13] Canzona Seconda ‘La Bernardina’
Giovanni Antonio Pandolfi Mealli (fl.1660-1669)
[14] Sonata ‘La Bernabea’ for recorder and basso continuo

Performers:
Dan Laurin – recorder
Masaaki Suzuki – harpsichord / organ

Bis’ Early Italian Chamber Music is a collection of early chamber sonatas for recorder and continuo played by Dan Laurin accompanied by Masaaki Suzuki. It consists of 14 pieces, mostly single-movement sonatas, canzone, a couple of works referred to as “Sinfonias,” and one Ricercar dating from 1585 that at least predate and in some cases prefigure the multi-movement sonata form associated with the Baroque. The most “modern” piece here, the Sonata La Bernabea of Giovanni Antonio Pandolfi Mealli, dates from 1660.
The playing is very good — Laurin is certainly facile on the recorder and Suzuki provides a low-key accompaniment on harpsichord and organ that is tasteful and does not dominate. However, the recorder has a tendency to be a very bright instrument, and here Bis seems to have picked Laurin’s playing up in a way that makes it rather shrill sounding for much of the disc. This does not hold true for every selection, as in the Giovanni Paolo Cima Sonata Seconda the recorder sounds fine and does not distort or prove piercing in tone. Why Bis, whose recordings are generally among the best being made these days, was unable to maintain a consistent, and comfortable, volume level for the recorder here is an absolute mystery.
It is very nice to have these sonatas recorded, and Early Italian Chamber Music does provide some insight into the chamber music of the early Baroque. Nevertheless, be prepared to jockey the treble knob on your amplifier or the higher sliders on your EQ, as the recording overall is a little too bright.

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