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Tommaso Giordani (1730 - 1806)
Harpsichord Concertos
Accademia Dei Solinghi
Rita Peiretti - harpsichord, conductor
Tommaso Giordani (1730 - 1806) has been saddled with the same yoke as were Tommaso Albinoni and Johan Pachelbel, i.e., he is generally remembered today-if at all-for one work, Caro mio ben, a song that is learned by almost every young singer. Born in Naples, Giordani went with his father’s itinerant opera company to London and first attracted attention in 1756 with an opera entitled La commediante fatta cantatrice. Then it was on to Ireland where several of the young Neapolitan’s works were sung in English. Between 1768 and 1783, Giordani was in England again, composing for The King’s Theater, Haymarket. Later, we once more find him in Ireland, where he organized a series of concerts modeled after the Concerts Spirituel in Paris. He retired in 1796 and died in Dublin in 1806. Judging by the contemporary popularity of his music, especially the songs and the other compositions he published, Giordani was a successful composer. With regard to instrumental music, he belongs to the group whose artistic father was Johann Christian Bach.
There is no concrete proof that Tommaso Giordani patterned his ops. 23 and 33 harpsichord concertos on the ops. 1, 7, and 13 by Christian Bach, but the stylistic evidence, though circumstantial, is overwhelming. Like Christian Bach, Giordani used a two-movement structure-an Allegro followed by a Minuet or similar dance-in most of his concertos, but also included two of the more traditional three-movement concertos in each set. The six concertos of op. 23, published in 1785 and dedicated to a Mr. O’Neil, evince the strongest artistic ties to Christian Bach, but there is also a goodly amount of originality and geniality in both sets. Slow movements appear in op. 23 only and-when used-express a variety of moods, but Giordani carefully avoids pathos, opting instead for cantabile. This, as well as the relatively uncomplicated solo parts that could be played by a harpsichordist of ability and the light scoring for an ensemble of two violins and bass, add up to further circumstantial evidence that Giordani was writing music for mass consumption.
Rita Pieretti and Accademia dei Solinghi are certainly up to the relatively modest technical requirements of Giordani’s concertos. Ms. Peiretti is an outstanding soloist and the little band plays up smartly. Phrasing and ensemble are first-rate and all is where it is supposed to be, when it is supposed to be there. There is nothing great, nothing profound, or nothing memorable here, but there is much pleasing entertainment.
CD 1
6 Harpsichord Concertos Op. 23
Concerto No. 1 in B flat Major
01. Spiritoso
02. Larghetto
03. Rondo: Allegretto
Concerto No. 2 in C Major
04. Allegro
05. Larghetto
06. Spiritoso
Concerto No. 3 in A Ìajor
07. Allegro maestoso
08. Tempo di minuetto
Concerto No. 4 in E flat Major
09. Spiritoso
10. Allegro molto
Total Time: 49'27
CD 2
Concerto No. 5 in G Major
01. Allegro
02. Andantino espressivo
03. Spiritoso0
Concerto No. 6 in D Major
04. Allegro
05. Tempo di minuetto00
3 Harpsichord Concertos Op. 33
Concerto No. 1 in E flat Major
06. Allegro moderato
07. Allegretto
Concerto No. 2 in C Major
08. Allegro
09. Minuetto
Concerto No. 3 in B flat Major
10. Allegro maestoso
11. Rondo: Allegretto
Total Time: 52'12
