“This super-sensitive reading of the Cello Sonatas deserves to be snapped up. Gaetano Nasillo foregrounds the composer's sly modal switches and other caprices, embracing the rich sound-world of Boccherini.”

When one speaks today of the history of the Italian solo concert, one thinks first of Bologna (Torelli, Corelli) and Venice (Albinoni, Vivaldi). It is sometimes overlooked that important impulses for the further development of the genre also emanated from Naples. In addition, cellists in particular owe a lot to the Neapolitans, which this CD aims to clarify. The best known are probably the six concertos by Leonardo Leo (1694-1744) with their light, sometimes gallant tone; of them the A major concerto is represented here along with four individual works by Nicola Fiorenza (died 1764), Nicola Porpora (1686–1768) and Nicola Sabatino (approx. 1705-1796).

Though Geminiani expressed a great deal of pride and acoomplishment regarding his Six Cello Sonatas, Op. 5, his writing style proved to be passé for audiences of the time and they did not receive their due appreciation. Today, however, they are recognized for what they are: one of the finest sets of cello sonatas to emerge from the last half of the 18th century. Geminiani's writing demonstrates a thorough knowledge of the cello's technical abilities as well as its abilities to convey emotions and sentiments. His writing, scored for solo cello, harpsichord, and basso continuo, is highly elaborate, filled with sophisticated ornamentation and an active continuo part.

The rich, beautiful violin tone, and unhurried yet thoughtful tempi of Enrico Gatti have been heard often in the music of Arcangelo Corelli. For Glossa he has now recorded the “Assisi” Sonatas for violin, 12 Sonate da camera à violino e violoncello solo, which it is believed that Corelli wrote prior to committing his Op 1 Trio Sonatas for publication in 1681, and quite possibly when the composer was still in Bologna.

Gaetano Nasillo has two multi-awarded recordings on Zig Zag Territoires to his credit, both of them devoted to the Neapolitan school: the Cello Sonatas of Salvatore Lanzetti and an anthology of Concerti Napoletani, with Chiara Banchini and her Ensemble 415. Now he inaugurates his collaboration with Arcana with a programme of eight Sonatas for solo cello and continuo by the Venetian-born Antonio Caldara, composed five years before the publication of the famous cello sonatas of the most famous Venetian, Antonio Vivaldi. Written eighteen months before his death, these pages represent a substantial contribution to the late baroque repertoire of sonatas for solo cello.