Although Francesco Geminiani is best known as a virtuoso violinist and composer of works for that instrument–along with concerti grossi, trio sonatas, and important treatises on performance practice–he also wrote a wonderful collection of six sonatas for cello. As performed here, the Op. 5 sonatas, which feature a prominent role for the continuo, stand among the most dynamic, exciting, and original works in the cello repertoire. Who knows why the catalog lists only one available recording (which contains only two of the sonatas)–but this exemplary release makes up for that deficiency in one supercharged performance after another, a real show of commanding cello playing by Gaetano Nasillo and an illuminating, revelatory display of fascinating repertoire. Although Geminiani also rescored and rearranged these pieces for violin it’s hard to imagine such robust, rich-textured, widely expressive pieces being as well or better served by the much higher-register voice of that instrument. Nasillo plays with an appropriately vigorous style, which he also alternates with lovely, lyrical legato passages–and tastefully spices everything with ornamentation that enhances but doesn’t call undue attention to itself.
Geminiani really shines in the allegros, full of melodic character, natural rhythmic drive, and lots of virtuoso stuff for the soloist to toss off as if as easy as breathing, which Nasillo does. Just listen to the dazzling, turn-and-trill-infested runs in the final allegro of Sonatas I & II, or to the variety of bowing Nasillo uses to articulate the expressive character of the finale of Sonata V (perhaps the best all-around piece of the set). Just how interactive the continuo can be (a pronounced feature of all of these sonatas) is shown to delightful effect in the rather oddly structured Sonata IV. After an opening, highly ornamented 28-second Andante comes the work’s only substantial movement, a three-and-one-half-minute Allegro moderato, where bits of melodic and rhythmic ideas are tossed back and forth, leading to a brief, show-stopping cadenza. Another odd, cadenza-like Grave section follows, after which the piece ends with a final 59-second Allegro.
Geminiani throws other unexpected musical curves, as the sudden slow, sad major-key waltz smack in the middle of the final allegro of Sonata VI–and just as suddenly the original quick pace and minor key resumes for a few concluding bars. There’s as much passion and fire packed into these sonatas as any composer could reasonably manage, and Nasillo and his very able partners give it to us right between the eyes–and ears! The sound is slightly edgy and bright, and largely due to Geminiani’s often dense writing and unusual habit of occasionally scoring the soloist below the continuo, Nasillo’s lines are sometimes covered by the harpsichord and supporting cello. But that doesn’t keep the performances from holding your attention and making you glad you discovered this excellent music.
