Andrea Chezzi plays Bernardo Pasquini
Composer: Bernardo Pasquini (1637-1710)
Performed by: Andrea Chezzi
CD Length: 51 minutes - Urania Records
Recording Date: June 2023
Location: Rocca Sanvitale di Fontanellato, Parma, Italy
Instrument: Anonymous Italian Harpsichord, Seventeenth Century
Recording Engineer: Federico Savio
Andrea Chezzi's latest recording brings the music of Bernardo Pasquini into sharp focus, performed on an historical seventeenth-century Italian harpsichord. This album, recorded in the intimate setting of the Rocca Sanvitale di Fontanellato, captures the essence of Pasquini's intricate compositions with a refined and mellow harpsichord tone, courtesy of the instrument's tuning nearly a whole step below modern pitch.
Pasquini, a contemporary of Heinrich Biber and a pivotal figure in the transition between Frescobaldi and Domenico Scarlatti, is celebrated for his heavily ornamented, high baroque style. His keyboard music, preserved in handwritten manuscripts, showcases both his compositional prowess and excellent style, despite us knowing that his reputation had been built upon his remarkable improvisatory skills. Chezzi's interpretation offers a fascinating glimpse into Pasquini's world, balancing technical mastery with historical authenticity.
Sound Profile and Recording Quality
The recording’s sound profile is notably mellow, with a pleasing emphasis on the mid-range frequencies, avoiding the overly bright and top-heavy timbre often associated with harpsichords. This creates a relaxed and inviting listening experience. The close, dry recording style—captured in a resonant, yet not overly large room with hard surfaces—adds an intimate, almost domestic quality to the performance, deviating from the more typical concert hall or church acoustics. I felt I might have been invited to hear Pasquini, as many nobles might due when coming to Rome.
Pasquini’s Compositional Style
Pasquini’s compositions on this CD reveal a fascinating blend of forward-looking and retrospective elements. His highly ornamented style often bridges the gap between the measured counterpoint of Frescobaldi and the virtuosic flair of Scarlatti. Many of these pieces showcase a constant stream of notes, with melodic lines interwoven with continuous left-hand movements, reminiscent for me of some of Jan Pieterszoon Sweelinck’s dense writing.
Highlights of the Recording
"La Folia" Variations: This piece stands out as a rite of passage for baroque composers, offering a valuable comparison of Chezzi’s interpretative style against other performers. Chezzi’s deliberate pauses between variations, while artistically and pragmatically justified, sometimes disrupt the musical flow, leaving the listener yearning for a more continuous rhythmic pulse.
"Fantasia in e, la mi": A contrapuntal gem, this fantasia feels almost vocal in its learned affect. Its structure and execution suggest an organ piece, ending in a way that leaves the listener hanging, craving a thematic continuation.
"Tastata": Following the Fantasia, this piece written for a man from Genoa exudes a modern vibrancy, a stark contrast that highlights Pasquini’s stylistic versatility. Chezzi’s performance here is particularly dynamic, revealing the performer’s personality and interpretative flair.
"Sonata": The final track of the CD, this multi-sectional piece sparkles with a tight, contrapuntal opening that recalls Bach’s Fantasia BWV 917 in G minor. Chezzi’s handling of the arpeggios and fugal sections is exemplary, showcasing his technical prowess, historical performance, and an excellent take on interpretation of music from this period.
"Toccata octava": Opening with a flourish, this piece harks back to Frescobaldi in its ornamentation and style. Chezzi’s crisp articulation and assured playing make it a standout track, demonstrating his mastery of the harpsichord’s capabilities.
Interpretation and Technical Execution
Chezzi’s playing is confident and technically assured, handling the fast passages and intricate ornaments with ease. His choice of meantone tuning enhances the harmonic richness of Pasquini’s compositions, with some piquant modulations and moments of perfect resonance adding to the historical authenticity of the performance.
While Chezzi’s interpretation generally favors clarity and articulation over extroverted expressiveness, his control and affective choices in tempo and rubato bring out the emotional depth of the music. His approach might be seen as putting the music before the performer’s ego, a commendable stance that lets Pasquini’s compositions shine on their own merits.
Conclusion
Andrea Chezzi’s recording of Bernardo Pasquini’s harpsichord music is a valuable addition to the baroque repertoire. The unique timbre of the seventeenth-century Italian harpsichord used offers a fresh and engaging perspective on Pasquini’s work, under Chezzi’s command. Chezzi’s technical skill and interpretative insight make this CD a standout choice. Comparing Chezzi’s recording, while shorter than some, provides us a great appetizer into Pasquini’s keyboard works. I found he better understood Pasquini’s style—or we might expand that to this genre and time period—than other recordings on the market. While some may enjoy such comparisons as multiple interpretations are a treat in this day and age, I felt Chezzi’s to ultimately be the most convincing.
In a market where Pasquini’s music is gaining deserved attention, Chezzi’s recital stands out as a top contender. Excellent liner notes are provided. For those seeking an introduction to Pasquini’s keyboard music, this album is a must-listen, offering a rich and nuanced exploration of a composer who skillfully bridges the worlds of Frescobaldi and Scarlatti.
