After recently enjoying Francisco Corselli’s (Courcelle’s) rousing sinfonia to Il Farnace that Jordi Savall and Les Concert de Nations incorporated as an opening prelude to their recording of Vivaldi’s earlier opera of the same name (Alia Vox, see review Q5454) it’s a pleasure to welcome this new Glossa offering–the first fully devoted to this composer. Though prolific (he composed operas, numerous orchestral and chamber works, and hundreds of sacred vocal compositions), richly talented (he could play a number of instruments as well as sport a fine tenor voice), and was highly regarded in his day, Corselli’s legacy nearly lies “beneath the dust of oblivion”, as El Concierto Español director/violinist Emilio Moreno poignantly puts it in the liner notes. These musicians are to be congratulated since, as evidenced by this generous sampling, Corselli (or Courcelle as he’s also listed, since he was born in Italy to French parents) composed some extraordinarily beautiful if not original music, and whatever neglect his work has suffered couldn’t be more unjustified.
While every selection here is distinguished, there are some especially delightful favorites. Though more moderate in comparison to the aforementioned sinfonia to Il Farnace (included here in a performance as thrilling as Les Concert de Nations’ rendering), the opening overture to Achille in Sciro is just as expertly crafted and imaginatively conceived (the rhythmic contrasts between the strings and the winds nearly anticipate Beethoven!). The six-part Lectio 2 in Sabato Sancto features vocal writing on par with Caldara and Pergolesi, often requiring the soprano to sustain lengthy notes to heighten dramatic effect. Here, as in every other vocal selection, soprano Nuria Rial rises to the occasion, lucidly delivering consistently seamless performances. Her most stunning display occurs in Corselli’s brief Christmas cantata A ti, invisible Ruiseñor Canoro, where in the second-movement “Aria Andantino” she’s required to mimic the flute obbligato that in turn mimics the bird calls mentioned in the text. What a charmer!
As is the norm with Glossa the sound and presentation are second to none. Emilio Moreno’s exemplary notes are informative and entertaining, featuring an especially endearing explanation of El Concierto Espanol’s raison d’etre. Writing of a program titled Madrid 1752 (Dorian–see review Q3734) colleague David Vernier lauds Corselli, declaring in conclusion to be on the lookout for more. Enthusiastically seconded! Highly recommended.
