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TC 0531
CAMBINI, G.M.: Chamber Music (Ensemble Barocco Sans Souci)

CAMBINI, G.M.: Chamber Music (Ensemble Barocco Sans Souci)

The Classical Shop
release date: November 2013

Originally recorded in 2013

Artists:

Ensemble Barocco Sans Souci

Ensemble

Ensemble Barocco Sans Souci

Chamber

Venue:

Chiesa Evangelica Riformata Battista

Venue

Record Label
Tactus

Genre:

Chamber


Classical

Total Time - 67:19
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CAMBINI, G.M.: Chamber Music (Ensemble Barocco Sans Souci)

     
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GIUSEPPE MARIA CAMBINI

     
 

Quartet No. 1 for Oboe, Violin, Cello and Keyboard in C Major

 
1 I. Andantino 05:49
2 II. Presto 04:36
     
 

Quartet No. 2 for Oboe, Violin, Cello and Keyboard in C Major

 
3 I. Allegro 06:41
4 II. Allegro grazioso con variazioni 05:52
     
 

Quartet No. 3 for Oboe, Violin, Cello and Keyboard in A Major

 
5 I. Allegro 08:52
6 II. Tempo di minuetto con variazioni 05:03
     
 

Quartet No. 4 for Oboe, Violin, Cello and Keyboard in G Major

 
7 I. Andante con moto 06:22
8 II. Presto 04:04
     
 

Quartet No. 5 for Oboe, Violin, Cello and Keyboard in F Major

 
9 I. Allegro 07:38
10 II. Tempo di minuetto con variazioni 03:42
     
 

Trio No. 5 in G Major, Op. 45 (arr. for oboe, violin and cello)

 
11 I. Allegro con vaghezza 04:58
12 II. Andantino con moto, grazioso 03:42
     
 Ensemble Barocco Sans Souci Ensemble


It is quite likely that Giuseppe Cambini influenced the Parisian milieu with his typically Italian originality. He is regarded as a pre-Romantic composer not only because he anticipated the era of Beethoven, Schubert, Schumann and Chopin, but above all because of his pensive search for expression. This is the “Italian-style Romanticism” that Boccherini had forestalled in his isolation at the Spanish court. This music belongs to a “graceful, light, rococo style” that is not suitable for expressing the dramatic aspect of emotions, except in a few passages in minor tonality: the harpsichord predominates, the violin and oboe accompany it, with occasional solo parts, and the cello doubles the bass. The handwritten word “quartetti” therefore indicates a style that is different from that of the Baroque sonata a tre, where the harpsichord and the cello were confined to the accompaniment. The trio – originally for flute, oboe and bassoon – belongs to a collection of six trios, op. 45, that are very well-crafted, brilliant, with occasional hints of sadness. Rather than pre-Romantic, this music is the climax of the classical chamber-music era.

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