De Castro: Trio Sonatas, Op. 1 La Real Cámara

• 1 I. Preludio: Adagio 01:50
• 2 I. Allemanda: Presto 01:37
• 3 III.Adagio 00:38
• 4 IV. Tempo di Borrea: Presto 00:57
• 5 I. Preludio 01:36
• 6 II. Alemanda 02:21
• 7 III. Giga 01:26
• 8 IV. Minuet 01:05
• 9 I. Preludio: Adagio 01:16
• 10 II. Allemanda: Presto 01:55
• 11 III. Presto di Sarabanda: Allegro 01:18
• 12 IV. Tempo di Gavotta: Presto 01:50
• 13 I. Preludio 01:40
• 14 II. Allemande 01:26
• 15 III. Tempo di Sarabanda 01:24
• 16 I. Preludio: Adagio - Presto - Adagio - Presto - Adagio - Presto - Adagio - Presto - Adagio 02:06
• 17 II. Allemanda: Allegro 02:07
• 18 III. Presto 00:55
• 19 I. Allemanda: Allegro 01:40
• 20 II. Adagio 01:45
• 21 III. Allemanda: Allegro 01:19
• 22 IV. Tempo di Sarabanda: Allegro 01:13
• 23 I. Preludio: Grave 01:26
• 24 II. Corrente: Allegro 01:27
• 25 III. Grave 00:34
• 26 IV. Presto 01:27
• 27 I. Preludio: Adagio 02:10
• 28 II. Allemanda: Largo 02:08
• 29 III. Giga: Allegro 01:29
• 30 I. Preludio: Adagio 02:10
• 31 II. Allemanda: Allegro 01:55
• 32 III. Corrente: Allegro 01:29
• 33 IV. Giga: Allegro 01:12
• 34 V. Minuet all'unisono: Allegro 00:54
• 35 I. Preludio. Adagio - Presto - Adagio - Presto - Adagio 02:09
• 36 II. Allemanda: Allegro 01:15
• 37 III. Minuet all'unisono: Allegro 01:14
• 38 IV. Tempo di Gavotta: Presto 00:43
• Total Runtime 57:06

Info for De Castro: Trio Sonatas, Op. 1

A seventeenth century violinist-composer in Francisco José de Castro, who travelled from his birthplace of Seville to the Northern Italian city of Brescia where he composed chamber music, provides the focus for Emilio Moreno’s latest exploration of the forgotten and ignored in Iberian Baroque. Castro’s Trattenimenti armonici, Op 1, a set of ten trio sonatas da camera were published in 1695, by which time their composer had earned a deserved reputation for his musicality, especially as a follower of the innovative style of Arcangelo Corelli (Castro’s first opus was issued by a leading publisher in Bologna). These trio sonatas are the only known Spanish examples from the seventeenth century.

The sonatas – consisting of preludes followed by dance movements including those in the French manner – show the young Sevillian embracing the stylus phantasticus and the new violin virtuosity which he would have encountered in Spain (he may have been taught by Italian violinists) but the revelation of whose full glory was to await him when he moved to Brescia.

The performances from La Real Cámara – naturally being issued by Glossa – here are led by two modern virtuosi skilled in this genre, Emilio Moreno and Enrico Gatti, who are ably supported by Mercedes Ruiz, and Pablo and Aarón Zapico. Emilio Moreno regards Castro as the “Spanish Corelli”, a compliment which is borne out by this elegant and imaginative music, rich in harmonic and melodic ingenuity whilst continuing to be influenced by Francisco José de Castro’s “Spanish Muse”.

La Real Cámara:
Emilio Moreno, violin
Enrico Gatti, violin
Mercedes Ruiz, cello
Pablo Zapico, baroque guitar, theorbo
Aarón Zapico, harpsichord

Recorded February 2015 in Oviedo (Auditorio y Palacio de Congresos Príncipe Felipe), Spain
Engineered and produced by José Luis Crespo
Executive producer: Carlos Céster

No biography found.

Booklet for De Castro: Trio Sonatas, Op. 1