Bissolo, Enrico
Galuppi Keyboard Sonatas Vol.3
For the third stage of the recording of Galuppis works, Fluente Records turned to Enrico Bissolo, who recorded six sonatas on a Keith Hill harpsichord. It is well known that Galuppis vast production was capable of ranging across the most disparate genres: from melodrama to sacred, spiritual and instrumental music. His work went beyond the borders of the Serenissima, and only in the second half of the eighteenth century (during his lifetime) were printed editions published in Paris, London and practically all European capitals. The manuscripts (autographs are rare) went beyond the borders of the Old Continent, landing above all in the Americas. The "leopard-spot" diffusion particularly affected, and for obvious reasons, keyboard music; Galuppis sonatas are almost completely undated except for rare cases, and are usually preserved in a single manuscript source. Only for the few printed works do we have terms ante quem, for example with the publication of the so-called Opera I and Opera II (Walsh, London, 1756 and 1759). The only dating criteria are therefore entrusted to stylistic evaluation, which goes from the toccata-like character of the youthful pages to touch on the Sturm und Drang character that was certainly influenced by the knowledge of Mozart (present in Venice in the youthful years) and by the Composer's long travels abroad. However, there remains constant in Galuppi's style an evident love for the operatic "cantability" that Buranello transfers with original grace into the keyboard scores, imaginative "scenes" almost always attributable to an abstract, allegorical representation of an "other" world, that of the theatre.