ジェミニアーニ: チェロと通奏低音のためのソナタ Op.5

バロック・チェロの名手ガエターノ・ナジッロ!

フランチェスコ・ジェミニアーニの作品は、主に合奏協奏曲とソロ楽器によるソナタでした。彼はコレッリの影響を受けていましたが、半音階的な響きを重視するなど個性に溢れた音楽を作りました。その音楽はコレッリよりも表現豊かでドラマティックな部分も持っています。

ガエターノ・ナジッロは、ミラノのヴェルディ音楽院でチェロをロッコ・フィリッピー二に、その後バーゼル・スコラ・カントルムでパオロ・パンドルフォにヴィオラ・ダ・ガンバを師事。歴史的楽器を用いたヨーロッパの著名なアンサンブル(アンサンブル415、コンチェルト・ヴォカーレ、アンサンブル・ゼフィーロ、ル・コンセール・デ・ナシオン、アンサンブル・アウローラ、リ・アンジェリ)と、ソリスト、通奏低音奏者として定期的に共演し、これまでに60枚を超えるCDの録音を残しています。
東京エムプラス

Though Geminiani expressed a great deal of pride and acoomplishment regarding his Six Cello Sonatas, Op. 5, his writing style proved to be passe 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. Cellist Gaetano Nasillo, accompanied by harpsichordist Jesper Christensen and cellist Tobias Bonz, handles Geminiani's writing with enjoyable technical elegance and demonstrative emotional impact. Keeping with performance practice of the time as well as Geminiani's own beliefs on musical performance, Nasillo deftly uses ornaments, vibrato, and dynamics as highly effective expressive tools. His interpretations fall neither to the indulgent nor the dry end of the spectrum. Christensen's realizations are appropriately rich and active. Bonz's playing of the continuo part is just as refined and precise as Nasillo's, but his important, active part is sometimes lost to a very low dynamic level.