GIORDANI: 5 CONCERTOS Op. XIX

GIORDANI: 5 CONCERTOS Op. XIX ( CVLD010 )

TOMMASO GIORDANI (1730 – 1806)

Five Concertos for a German flute, two Violin and Bass Op. XIX

Traces

01 - Concerto No. 1 in D major, Allegro moderato
02 - Concerto No. 1 in D major, Larghetto
03 - Concerto No. 1 in D major, Rondo Allegro
04 - Concerto No. 2 in F major, Allegro maestoso
05 - Concerto No. 2 in F major, Largo
06 - Concerto No. 2 in F major, Rondo allegretto
07 - Concerto No. 3 in C major, Allegro
08 - Concerto No. 3 in C major, Larghetto with a little movement
09 - Concerto No. 3 in C major, Minuet with motion
10 - Concerto No. 4 in G major, Spiritoso
11 - Concerto No. 4 in G major, Largo
12 - Concerto No. 4 in G major, Rondo allegretto
13 - Concerto No. 6 in C major, Spiritoso
14 - Concerto No. 6 in C major, Largo
15 - Concerto No. 6 in C major, Rondo andantino grazioso

Cremona Baroque Orchestra

Giovanni Battista Columbro, conductor & traversiere
Maurizio Cadossi (I vl), Marco Pesce,
Enrico Gramigna, violin I
Claudia Monti, Bruno Raspini,
Riccardo D'Ariano, violin II
Antonio Braidi, Alessio Tedeschi, cello
Carlo Calegari, violone
Luca Pollastri, harpsichord

1 CD, 2025

Notes

Tommaso Giordani was a truly fashionable composer, achieving considerable success both as an opera composer and as a composer of instrumental music. These flute concertos date back to an unspecified period in the eighteenth century, but their format unmistakably presents a structure rooted in the golden principles of classical sonata form, allowing us to place them between 1765 and 1775. They offer a realistic sampling of the flute technique of the time that would soon see the birth of the Romantic era. In this recording, the instrument used is a mid-eighteenth-century copy of a C. Palanca, with a tuning fork of approximately 420 Hz.

Giordani's activity was indeed fashionable, having success both with operas and with instrumental music. The composition of these flute concertos dates back to an unspecified period of the 18th century, but their structure is unquestionably within the golden classical principles of the sonata form, allowing us to place them temporally between 1765 and 1775. The concertos offer the listener a realistic glimpse of the flute technique of the time that would soon see the Romantic Era blossom. In this recording, the instrument used is a copy of a mid-eighteenth-century C. Palanca, with a tuning fork of about 420 hz.