Manuel Blasco de Nebra: Sonatas & Pastorelas
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Carole Cerasi
Sonatas & Pastorelas
Manuel Blasco de Nebra
Label: Metronome Recordings Ltd
Catalogue No: METCD 1064
Discs: 1
Sonatas & Pastorelas
Manuel Blasco de Nebra
Label: Metronome Recordings Ltd
Catalogue No: METCD 1064
Discs: 1
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6 sonatas and 3 pastorelas
Manuel Orlandi Blasco de Nebra figures among the most talented musicians of the 18th century Spain. He studied in Seville and in Madrid. Son and apprentice of José Blasco de Nebra, the organist of the Seville Cathedral since 1735, he composed over 170 works for keyboard instruments, about 30 of which are still in existence.
As well as his talent for playing the organ, the fortepiano and the harpsichord, Manuel Blasco de Nebra’s excellent prima vista (or sight-reading: the ability to perform a piece of music upon reading it for the first time) was well-renowned. Heir to Domenico Scarlatti in many respects, Manuel Blasco de Nebra was a creative genius whose life was too short – he died aged 34 – to get the recognition that he deserved; his compositions have since his lifetime been overshadowed by the reputation of Domenico Scarlatti.
Although the influence of Scarlatti is unmistakable, Manuel Blasco de Nebra’s work is more relaxing and gently optimistic. The tension is released into longer themes and elaborate convolutions. The pastorelas must be played with unexpected rhythm changes and the sonatas move from a slow, rangy movement to another, faster and much more complex.
Carole Cerasi understands this and reveals Manuel Orlandi Blasco de Nebra’s compositions with panache and obvious affection. She plays on two 18th century instruments from the Finchcocks Collection, an Austrian fortepiano and a strong-boned Portuguese harpsichord. Carole Cerasi has the talent and the virtuosity to play any repertoire and the generosity to introduce the world to little-known gems such as these Sonatas & Pastorelas.
"Both instruments have real presence and character, as does Cerasi’s playing, which is as crisp and well thought-out as ever, and dashingly virtuosic in those frantic finales. New recordings from this musician are always worth waiting for; let us hope we will hear her before too long in more mainstream harpsichord repertoire."
(Lindsay Kemp in Gramophone)
"Cerasi expertly showed off the virtuosic mastery of the Spanish idiom."
(Early Music Today)
Manuel Orlandi Blasco de Nebra figures among the most talented musicians of the 18th century Spain. He studied in Seville and in Madrid. Son and apprentice of José Blasco de Nebra, the organist of the Seville Cathedral since 1735, he composed over 170 works for keyboard instruments, about 30 of which are still in existence.
As well as his talent for playing the organ, the fortepiano and the harpsichord, Manuel Blasco de Nebra’s excellent prima vista (or sight-reading: the ability to perform a piece of music upon reading it for the first time) was well-renowned. Heir to Domenico Scarlatti in many respects, Manuel Blasco de Nebra was a creative genius whose life was too short – he died aged 34 – to get the recognition that he deserved; his compositions have since his lifetime been overshadowed by the reputation of Domenico Scarlatti.
Although the influence of Scarlatti is unmistakable, Manuel Blasco de Nebra’s work is more relaxing and gently optimistic. The tension is released into longer themes and elaborate convolutions. The pastorelas must be played with unexpected rhythm changes and the sonatas move from a slow, rangy movement to another, faster and much more complex.
Carole Cerasi understands this and reveals Manuel Orlandi Blasco de Nebra’s compositions with panache and obvious affection. She plays on two 18th century instruments from the Finchcocks Collection, an Austrian fortepiano and a strong-boned Portuguese harpsichord. Carole Cerasi has the talent and the virtuosity to play any repertoire and the generosity to introduce the world to little-known gems such as these Sonatas & Pastorelas.
"Both instruments have real presence and character, as does Cerasi’s playing, which is as crisp and well thought-out as ever, and dashingly virtuosic in those frantic finales. New recordings from this musician are always worth waiting for; let us hope we will hear her before too long in more mainstream harpsichord repertoire."
(Lindsay Kemp in Gramophone)
"Cerasi expertly showed off the virtuosic mastery of the Spanish idiom."
(Early Music Today)