Claudio Scimone, I Solisti Veneti, Concerto Köln - Antonio Salieri: Concertos for Fortepiano, Flute & Oboe (2004)

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Claudio Scimone, I Solisti Veneti, Concerto Köln - Antonio Salieri: Concertos for Fortepiano, Flute & Oboe (2004)

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Salieri's own autograph work-list contains the following entry: 'Two concertos for the pianoforte, written for two ladies." Unfortunately we do not know who these two ladies were. All that we can say for certain is that they must both have been technically accomplished and trained to the highest musical standards. Salieri's demanding concertos are distinguished in the main by their middle movements, traditionally the genre's most fertile field of experimentation.
The Concerto in В flat major begins with an Allegro moderato whose ascending triadic theme acquires a fresh and lively character by dint of its ornamentation. At the end of the opening tutti, the soloist enters in the old ritornello manner with a related theme and, in the course of the movement, develops into an effective partner by means of virtuoso passagework and figures. The second movement is dominated by the solo instrument: over an Alberti bass in the left hand (a popular, if obvious, device at this time), the soloist unfolds the melodic line, while muted strings provide a discreet accompaniment. A Tempo di menuetto brings the work to an effective conclusion.
The Concerto in С major has an altogether exceptional middle movement, with a dynamically elaborate Allegro maestoso (again with an ascending theme) followed by what seems like the musical transcription of a typical scene from a Neapolitan opera - a serenata or serenade -imported into the world of the keyboard concerto. The solo opens the movement in the minor with typical augmented intervals; the strings alone then assume a leading role, after which they fulfil the function of accompanying voices. The continuo no longer has any part to play. The end of this Larghetto creates an altogether unique impression, with a pizzicato effect proving both restrained and, at the same time, suitably emphatic. Gerber refers specifically to Salieri's "truth of expression and his great skill in treating the passionate accents of rhetoric". With this concerto Salieri succeeded in applying his operatic gifts to the keyboard concerto and in combining soloist and orchestra in a highly novel way.
Concertos for more than one soloist were very popular in the 18th century - Salieri also wrote one for violin, oboe and cello. His concerto for flute and oboe of 1774 has a rather "military" opening tutti (the scoring includes trumpets and horns, but woodwind instruments are omitted); however, the solo passages are less grand than charming, and the first movement is less tightly organised than that of the keyboard concerto. The F major largo is gracious and tender, and again remarkable for its expressive writing for strings. The cadenzas in both movements are the composers. The finale is a rondo in minuet time, with the refrain recurring between episodes for the soloists: the final one includes parts for two solo violas, a favourite combination of Mozart's.
One more work on this record is something of a mystery. It is a sinfonia of the type used to introduce Italian operas, each of its three movements (a sparkling opening allegro, an andante for strings alone, and a lively jig-like finale) in binary form. The Verona manuscript in which it is to be found, is attributed to Francesco Salieri, who provided the earliest musical education of his younger brother Antonio, and none of whose works is known. Its style seems somewhat old-fashioned for the Viennese Salieri of the 1770s, and it does not figure in any catalogue of his works. At any rate, whether it is by Francesco or an early effort by Antonio, it is an enjoyable piece in its own right, and worthy of a place alongside the three concertos, available on this record.

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Claudio Scimone, I Solisti Veneti, Concerto Köln - Antonio Salieri: Concertos for Fortepiano, Flute & Oboe (2004)

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