GAETANO BRUNETTI: Divertimenti

Description

ARTISTS: Concerto 1700 | Daniel Pinteño, violin & director

REVIEWS:

“The energetic interpretation of the three soloists is especially exciting” – Melómano Magazine.

“The blend is perfect, achieving moments of outstanding timbral richness in the faster movements, in which the precision in the entrances and endings should be praised”– Scherzo Magazine.

“Excellent interpretation with original instruments of Concerto 1700.”– Rivista Musica.

“The music is of fabulous beauty, especially in the more lyrical and restful passages.” – Ritmo Magazine.

ALBUM INFORMATION:

Gaetano Brunetti, also known in Spain as Cayetano, was born around 1744 in Fano, a city on the Adriatic coast then under sovereignty of the Papal States. He was already in Spain since at least 1760, aged 15 or 16, as in that year he took part in the auditions for the position of violinist of the Royal Chapel of the Madrid Palace. In October 1767, Brunetti finally got a position as a violinist of the Royal Chapel. After Felipe Sabatini’s death in 1770, Brunetti was nominated violin teacher of the Prince of Asturias, the future Carlos IV. In fact, this position meant taking charge of everything related to the music of the prince’s chamber: Brunetti had not only to compose new pieces for the academic gatherings of his illustrious patron, but also to select the repertoire and the musicians to perform it. After Carlos IV’s coronation in early 1789, Brunetti became a musician of the Royal Chamber.

There are currently 52 string trios by Brunetti (although we know of several more which have been lost), 29 of which are written for two violins and cello and 23 for violin, viola and cello. While Brunetti simply called the works for violin and cello “trios”, the pieces with violin, viola and cello appear as “divertimenti” in the sources. This term is used possibly because of their instrumentation, different from the usual two violins plus bass, more common at the time. It is also possible that it refers to the lighter nature of the divertimenti, which usually contain two or three short movements.

In the 70s of the 18th century, Brunetti composed 18 divertimenti, divided into three series, each comprised of six works. The first series (L133-138) seems to be dated 1773, the second series (L139-144) 1774, and the third series (L127-132) 1775. These divertimenti play an important role in the roots of the genre, as they were composed soon after Haydn’s divertimento (Hob. V:8), dated around 1765, and after Boccherini’s viola trios Op. 14, published in Paris in 1772. Later on, in 1784, Brunetti composed another set of divertimenti (L145-149), based on Haydn’s divertimenti, copied around 1783 for the Prince of Asturia’s chamber, which were in fact arrangements for violin, viola and cello from trios originally written for “baryton”.

Brunetti’s 18 divertimenti are a good example of the maturity as a composer reached by this musician already in the 70s, a consequence of his personal assimilation and deep knowledge of the music made throughout Europe. It is worth mentioning the beauty and lyricism of the themes, the independent treatment given to the three instruments, the skillful and well-implemented developments – which show Haydn’s marks – and the delicate textures and surprising harmonic effects, a clear influence of Boccherini.

TRACKS:

Divertimento in G Major L127
1. Andante [02:11]
2. Allegretto [02:53]

Divertimento in E flat Major L130
3. Larghetto stacato [06:18]
4. Allegro [03:38]

Divertimento in D minor L136
5. Andantino con moto [03:52]
6. Allegretto [05:43]

Divertimento in E flat Major L133
7. Andantino [08:17]
8. Tempo di Minuetto [03:53]

Divertimento in B flat Major L140
9. Larghetto cantabile [04:00]
10. Allegro [03:22]

Divertimento in D minor L142
11. Andantino Gracioso con Variazioni [03:47]
12. Allegro non molto [06:01]