Legs to Stand Upon
Six sonatas from Corelli, op. 5 on viola da gamba
This album by the winner of the 2021 Brugge competition on his instrument, Teodoro Baù and harpsichordist Andrea Buccarella take on half of Corelli’s fifth opus with the solo going to the viola da gamba.
The recording is a direct result of Mr. Baù’s win. I will start by saying the clarity of the recording suffers from what I imagine is the closeness of the microphones to the instruments; in this case my guess they aren’t close enough for my taste. The effect on headphones is annoying with too many reflections from the room getting into the mix during the faster movements. The room’s acoustic keeps itself at bay during the slower movements. The effect is less distracting when auditioned on loudspeakers. And turning down the volume with headphones. But let's get to the music.
My fatigue with headphones is the only critical point I can make on this album. As crazy as I thought the prospect might be on employing a tenor instrument to the normally higher range of the violin, both musicians make it work. But I need to go beyond this and ensure you understand the harpsichord playing is of very high quality; the gamba playing is highly virtuosic and Baù’s technique is up to the task of taking Corelli’s basic outline and embellishing it to the highest standards. I dare anyone to find a violinist who has recorded this work with as much flair and technical tightness!
The result is as if these sonatas had originally been written for well, the viola da gamba and keyboard. This type of arrangement left me thinking there were no compromises in making these sound authentic. The excellent liner notes point out to arrangements from the period by Schenck, Höffler, Finger, and Cross.
Also notable is what I detect is the tuning used; the two players are not using an equal-tempered tuning but match quite well.
The inclusion of the variations on the “crazy” theme was a real treat. Can’t wait to hear more from these musicians in partnership together. The effect at times is one perhaps more appropriate for a contortionist. Sass in spades; but never grotesque.
