Locatelli Introduttioni Teatrali

Locatelli’s “Theatrical introductions” are six in number, akin, perhaps, to some of Vivaldi’s “concertos for strings,” that would be used as instrumental content for operas. I became aware of these through the 1993 release by the Freiburger Barockorchester, under the direction of Thomas Hengelbrock on DHM.

That CD combined the six pieces with some chamber music; in this release from Europa Galante under the direction and playing of Fabio Biondi, it also includes additional music to fill out the album’s 49 minutes: a violin concerto without an opus number, in A major. The liner notes state that these pieces might have been composed for use by the Amsterdam Municipal Theater orchestra, after Locatelli settled in Amsterdam.

Bearing all this in mind, the Introduzioni teatrali stand out for their hybridity as a genre, paying homage to the tradition of the concerto grosso and the sinfonia but interpenetrating their stylistic connotations in an entirely original combination.

As we have become accustomed from EG, this album is full of dynamic contrasts and a particular sweetness in the tone of the soloists violins. The orchestra’s size, perhaps, limits the built-in dynamic effects of the concerto grosso style, with short solos for two violins; a total of 7 violins appear, alongside two violas, two cellos, a double bass, harpsichord, and theorbo.

Both EG and the Freiburg ensemble have strong reputations; the older CD has a very wet acoustic sound to it, giving the sense of a theater, for sure. The closer and drier recording here is a better treat for our ears, with more detail present than reverb. Like some other period instrument ensemble recordings made in the 1980s, the Freiburg recording suffers from a bit too much harpsichord in the sound; but their violin playing, as a point of comparison, is strong.

Locatelli seemed to thrive in writing for major-moded pieces; it’s hard not to associate him and his music to a cheery aesthetic. There’s an emphasis in his writing, at least with these pieces, on strong melodic content. Among these theatrical introductions, the ideas are often short, and get repeated. As such, they do their job of capturing our attention and giving the audience something to enjoy before weightier entertainment begins.

I’d compare Locatelli here to the Hellendaal that I wrote about recently. Where neither of these collections are profound music, there’s a far more profound polish to Locatelli, I think, which speaks to his reputation during his time.

The A major concerto is a chance to concentrate a bit more on Biondi’s style with the provided solos. It’s also a chance to hear how Locatelli would compositionally stretch things to larger proportions. While not as drawn out as his concertos from L’Arte del Violino op. 3, this concerto is compact, by comparison. It’s style isn’t that far from the other pieces on the recording; the middle movement’s solo reminds me a bit of the Pianto d’Arianna concerto he wrote.

For those not accustomed to Biondi’s sound, there’s a real sweetness to it, and he’s a master at giving shape and phrasing. He employs significant vibrato, but in doses, and it’s not continuous. And, many years removed from his days at trying to innovate with the rhythmic pulse in Corelli and Vivaldi, here, he better behaves in terms of trying to reinvent this music. The ensemble’s cohesion, which is on full display in the ritornello of the final movement, is astonishingly tight.

There’s a more generous offering with the theatrical introductions from 2023 by the Thüringer Bach Collegium on Audite. While their playing excels because of some aggressive tempos and enthusiastic string playing, it lacks the dynamic and phrasing that Biondi and EG contribute in this newest recording.

In conclusion, this is a strong release from champions of the Italian baroque. While I think the pieces are well-written, they also are not the composer’s most interesting work. I can’t say that you’d gain to have yet another recording of them, but if they are new to you, this is among the best you can get.