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Barsanti & Handel: Edinburgh 1742 (Parte seconda)

ΕΤΑΙΡΙΑ: Linn
ΚΑΛΛΙΤΕΧΝΗΣ: Ensemble Marsyas
ΚΑΤΗΓΟΡΙΑ: CD
ΣΥΝΘΕΤΗΣ: Georg Friedrich Handel
Κωδικός: 691062062626
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Barsanti & Handel: Edinburgh 1742 (Parte seconda)

Ensemble Marsyas

  • Barsanti: Concerti grossi op. 3 Nr. 6-10; A Collection of Old Scots Tunes
    +Händel: Atalanta-Ouvertüre HWV 35

Following the success of its 2017 recording Edinburgh 1742: Barsanti & Handel, Ensemble Marsyas returns to the music of the Italian composer Francesco Barsanti who made his home in eighteenth-century Scotland.

Having already explored Barsanti's Concerti grossi - Parte Prima, double horn concerto and his arrangements of Scottish tunes, fans will be pleased to be able to hear more music from this engaging composer.

The new album will feature Barsanti's Concerti grossi - Parte Seconda, composed and published in Edinburgh in 1742, thus completing the Opus 3 collection.

Another set from A Collection of Old Scots Tunes , featuring Elizabeth Kenny and Colin Scobie, plus Handel's Overture to Atalanta, which was performed by the Edinburgh Musical Society, complete the programme.

Ensemble Marsyas groundbreaking recording of the Parte Prima enjoyed a rapturous reception, gaining a 2018 ICMA nomination and Gramophone Editor's Choice and MusicWeb International Recording of the Year 2017 accolades.

Artistic Director Peter Whelan has once again created an album that provides a fascinating glimpse into eighteenth-century musical life in the Scottish capital.

Christmas 2020

Barsanti’s Op. 3 concerti grossi (published in 1742) are exuberant and felicitous works, faintly Handelian in style (the two men knew each other) but infused to an even greater degree with an airy Italian grace...Whelan coaxes articulate phrasing, buoyant rhythms, and subtly nuanced dynamics from his players, and the ensemble’s silvery sound is faithfully captured by Linn’s recording engineers.

December 2020

Whelan has hit the fixing jackpot and assembled a team of Britain’s finest period players for our delight. The tutti violin-playing is particularly exquisite – neat but never plain – and Elizabeth Kenny’s glistening theorbo is perpetually lovely. Admittedly, the Barsanti concerti grossi fluctuate in compositional quality. Yet Ensemble Marsyas make miracles, speaking through the musically mundane with eloquence and verve.

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