Boccherini: Sei terzettini, Op. 47 La Real Camara

• Luigi Boccherini (1743-1805): Trio no. 1 in A major (g 107):
• 1 I. Allegretto moderato 05:10
• 2 II. Tempo di minuetto - Amoroso 05:02
• Trio no. 2 in G major (g 108):
• 3 I. Andantino 06:51
• 4 II. Tempo di minuetto 05:05
• Trio no. 3 in B flat major (g 109):
• 5 I. Andante allegretto 07:19
• 6 II. Tempo di minuetto 04:29
• Trio no. 4 in E flat major (g 110):
• 7 I. Adagio 05:11
• 8 II. Tempo di minuetto 03:54
• Trio no. 5 in D major (g 111):
• 9 I. Andantino moderato assai 07:33
• 10 II. Tempo di minuetto 04:31
• Trio no. 6 in F major (g 112):
• 11 I. Allegretto moderato assai 03:10
• 12 II. Allegro non tanto 04:15
• Total Runtime 01:02:30

Info for Boccherini: Sei terzettini, Op. 47

Few musicians today possess so much awareness and experience with the music of Luigi Boccherini as Emilio Moreno, or can invest their performances with so much insight. With his ensemble La Real Cámara and for his seventh recording of Boccherini’s music for Glossa, Moreno has now turned to the set of six string trios or Terzettini, Op 47 – scored untypically for Boccherini for violin, viola and cello – written when he was in full maturity both in his compositional activity and in his own skills as a cellist.

The year was 1793 and Boccherini turned fifty at the start of it; he had now been working in Madrid for some seven years after the death of his principal patron, the Infante Don Luis de Borbón, remaining active as a composer (these Op 47 trios were dedicated to a new patron, the King of Prussia), cellist and conductor of various of the private orchestras then flourishing in the Spanish capital. His style has become tauter and more intense, almost Romantic in its expressiveness.

Over the decades Moreno has played chamber works of “Don Luis Boquerini” with many gifted musicians. Here, with La Real Cámara, he joins his own viola playing to that of two of his established colleagues and friends from Japan (the recording was made in Saitama), violinist Natsumi Wakamatsu and cellist Hidemi Suzuki. Emilio Moreno also provides a thoughtful essay about the composer as he turned 50 and about his music.

La Real Cámara:
Natsumi Wakamatsu, violin
Emilio Moreno, viola
Hidemi Suzuki, cello

Recorded in Saitama (Coppice Miyoshi Culture Center), Japan, on 25-27 March, 2014
Engineered and produced by Takashi Sakurai
Executive producer: Carlos Céster

La Real Cámera
was formed in 1992 with the prime aim of rescuing and reviving the Spanish musical heritage of the 17th and 18th centuries. Emilio Moreno was commissioned in 1992 by the Consortium which organized Madrid, European Capital of Culture to create and direct an ensemble of chamber music that was able to interpret this rich and new repertoire. A highly talented group of Spanish musicians was chosen, all well established internationally, plus collaborators of the highest level such as Enrico Gatti, Natsumi Wakamatsu, Wouter Möller, Guido Morini, María Cristina Khier, Gaetano Nasillo and Roel Dieltiens.

That same year La Real Cámara was launched at the Prado museum with a series of concerts dedicated entirely to Spanish Baroque music. These were all recorded and broadcast by Radio Nacional de España and were highly praised by audiences and critics alike.

Since then La Real Cámara has performed regularly on radio and TV in Spain and appeared at international music festivals in Granada, Torroella de Montgrí and Santander; at the Golden Age of Spanish Music festival; at Early Music Festivals held in Barcelona, the Pyrenees, Daroca, Úbeda and Baeza; and at the Renaissance and Baroque Music festival in Vélez Blanco. They have also played at the National Auditorium in Madrid, the Auditorium in El Escorial, the Palau in Barcelona, in churches in Madrid and in the Royal Gardens of the Alcázar in Seville, among other venues.

Internationally La Real Cámara has performed at Festivals in Flanders, Montreux and Ambronay, at Festivals of Ancient Music in St. Petersburg, Prague, Antwerp, Bratislava, Panama, the Azores, Lisbon, Potsdam/Berlin, the Easter Festival of Paris, the Light Festival in Helsinki and the Festival Cervantino in Mexico.

The recordings of La Real Cámara for Glossa specialized in Luigi Boccherini’s La Bona Notte (Buona in Italian, no?), The Last Trios and Guitar Quintets (with José Miguel Moreno), and also included 17th century Spanish music, Tientos y Batallas, and the 18th century Music in the Time of Goya. These recordings were winners of numerous awards: the Diapason d’Or, 10 du Repertoire and Choc in France, the International Antonio Vivaldi Award in Italy, 5 Stars in the Goldberg magazine, Recording of the Year by the magazines CDCompact in Spain, Gramophone in Germany, Luister in the Netherlands and Ongaku in Japan.

Furthermore, the recording of Boccherini’s complete String Trios (Op. 14) was awarded 3x10 (‘three times ten’) by the German magazine Klassik Heute, 5 Stars by the Goldberg magazine, while a reviewer in the Spanish cultural magazine Babelia (El País, 2008) asserted that the conductor, Emilio Moreno, was ‘the best current interpreter of this music’. Also dedicated to Boccherini are the CDs Six Quatours pour le clavecin ou pianoforte, violon, viola et basse obligé (G259), and their latest recording, Sei Terxettini Op. 47, recorded in Japan with Natsumi Wakamatsu, violin, Emilio Moreno, viola and Hidemi Suzuki, cello.

In 2008, La Real Cámara and El Concierto Español took part in a series of concerts entitled ‘The Enlightenment and Liberalism; Music on the Threshold of the War of Independence’, a cycle organised by the State Society of Cultural Commemorations. In 2010, the ensemble was invited to participate in the Boccherini Festival held at the Concertgebouw in Bruges and in 2011 they performed in the Baroque Universe series of concerts held at the National Auditorium in Madrid. In 2013 the Spanish Association of Festivals awarded the FestClásica prize to La Real Cámara in the Ancient Music category.

Booklet for Boccherini: Sei terzettini, Op. 47