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Francesco Supriani - Principles to learn to play the cello

Guillermo Turina, Eugenia Boix, Tomoko Matsuoka

Supriani

SKU: COBRA0053

Year of release: 2016

Sinfonia di violoncello a solo 08:19
1. Amoroso Supriani 02:04
2. Allegro Assai Supriani 03:07
3. Larghetto Supriani 01:22
4. Presto Supriani 01:45
Cantata il mio cor che sta in catene 07:31
5. Aria Supriani 03:47
6. Recitativo Supriani 00:37
7. Aria Supriani 03:06
8. Toccata settima Supriani 02:16
9. Toccata settima con diminuzione Supriani 03:03
10. Toccata duocecima Supriani 02:15
11. Toccata decima con diminuzione Supriani 02:31
Cantata Chi m?invola da te, mio beltesoro? 04:04
12. Recitativo Supriani 00:42
13. Aria. Amoroso Supriani 02:51
14. Recitativo Supriani 00:31
Cantata Chi m?invola da te, mio beltesoro? - 02:23
15. Aria. Larghetto Supriani 02:23
16. Toccata quinta Supriani 02:47
17. Toccata quinta con diminuzione Supriani 04:28
18. Toccata nona con diminuzione Supriani 04:26
19. Toccata undecima con diminuzione Supriani 04:20
Cantata Bella, se un di potessi 08:48
20. Recitativo Supriani 01:13
21. Aria. Larghetto Supriani 03:41
22. Recitativo Supriani 00:55
23. Aria. Andante Supriani 02:58
Sonata a violoncello solo 06:36
24. Andante Supriani 02:08
25. Allegro Supriani 01:28
26. Adagio Supriani 01:32
27. Presto Supriani 01:27

About this album

Principles to learn to play the cello

Little is known about Francesco Supriani’s life. Born in the city of Conversano on July 11th 1678, it was probably where he began his musical studies. In 1708 he was appointed rst cello of the Real Capilla de Barcelona, recently founded by violinist Giuseppe Porsile for Archduke Charles of Austria. In this way, Francesco Supriani became the rst musician in Spain to be considered a cellist. After two years of service in the Real Capilla, Supriani returned to Naples in 1710 and joined the Real Cappella until 1730. There he shared music with some of the great musicians of the time, such as kapellmeister Alessandro Scarlatti. After his service in the court, he retired, keeping his wages as retirement pension, although he was allowed to play in solemn occasions. Francesco Supriani died in Naples on August 28th 1753.

The limited amount of his works that have survived to our days are very interesting due to the light it sheds on the technical possibilities of an instrument which was, until that time, focused fundamentally to the basso continuo. The present recording is the rst monography dedicated to Francesco Supriani’s music and is a perfect example of the variety of his small catalogue.

Baroque cellist Guillermo Turina, soprano Eugenia Boix and harpsichordist Tomoko Matsuoka have been playing together since 2012 in several Spanish ensembles. Since then, the discovery and study of Francesco Supriani’s marvelous music led Guillermo Turina to direct this project, with the strong intention of bringing his music to its well-deserved position in the History of Music as one of the most important antecessors of cello playing. 

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Media

Reviews

Scherzo

"The cellist from Madrid, Guillermo Turina, presents the first monographic dedicated to Supriani, where we find great surprises like the new discoveries for the cello and three cantatas with soprano. With Turina appear on the recording soprano Eugenia Boix and harpsichordist Tomoko Matsuoka, to create a trio that shows us the magnificent music of Supriani. Boix, in an excellent vocal moment, is in an incredible high level like Turina. Very good work of Matsuoka in the continuo playing. It is not easy to explain how is it possible that this works have gone unnoticed for so long". "E" for Excepcional — Eduardo Torrico

Ritmo

"We must thank Guillermo Turina and his team this priceless research and demonstration work and, if that was not enough, it is magnificently played" "R" for special recommended — Salustio Alvarado

Opus Klassiek

Dit mogen dan studiewerken zijn, de muzikale waarde lijdt er desondanks niet onder. Het hoge uitvoeringsniveau helpt zeker daarbij, geeft deze muziek een overtuigend steuntje in de rug. De barokcello van Guillermo Turina (hij is de achterkleinzoon van Joaquin Turina) zingt het hoogste lied en de begeleiding door de klaveciniste Tomoko Matsuoka is om door een ringetje te halen. In de beide cantates is het uiteraard de sopraan Eugenia Box die de meeste aandacht naar zich toetrekt. En terecht, want zij hanteert een groots aangelegd vocaal vocabulaire waarin werkelijk geen zee te hoog gaat. We horen haar in optima forma fraseren, haar techniek (met onder meer een superieur legato) staat geheel ten dienste van de muziek, ze zingt in volmaakt evenwicht met haar begeleiders en geeft zo schitterend invulling aan deze twee voor mij volkomen nieuwe, seculiere cantates. Wat kan er toch een grote expressieve zeggingskracht uitgaan van een klein ensemble! Dit is van begin tot eind heerlijk musiceren, met een aanstekelijke onbekommerdheid waarin toch nog voldoende plaats is voor de contemplatieve momenten. De door Tom Peeters gemaakte opname valt in dezelfde categorie: bellisimo! — Aart van der Wal

Ritmo

"We must thank Guillermo Turina and his team this priceless research and demonstration work and, if that was not enough, it is magnificently played" — Salustio Alvarado

Scherzo

"The cellist from Madrid, Guillermo Turina, presents the first monographic dedicated to Supriani, where we find great surprises like the new discoverments for the cello and three cantatas with sorpano. With Turina appear on the recording soprano Eugenia Boix and harpsichordist Tomoko Matsuoka, to creat a trio that shows us the magnificent music of Supriani. Boix, in an excellent vocal moment, is in an incredible high level like Turina. Very good work of Matsuoka in the continuo playing. It is not easy to explain how is it possible that this works have gone unnoticed for so long". Stars: "Exceptional" — Eduardo Borrico

Revista Melomano

The general quality of the CD is outstanding, but the best music from the ensemble are the three cantatas. With the common structure of that time alternating recitatives and arias, we must highlight the cantata "Chi m'invola da te, mio bel tesoro?, especially the aria "Lungi da te vad'io", because of Its expressiveness, its delicacy and its beauty, in the widest sense of the word. — Lucia Martin-Maestro Verbo

Technical Specifications

Recording SoftwareMerging, Pyramix
Recording Type Bit RateDSD64
Recording LocationKoepelkerk, Renswoude, The Nederlands
Recording EngineerTom Peeters
ProducerTom Peeters
Mixing BoardRens Heijnis custom made
MicrophonesBruel & Kjaer 4003 modified by Rens Heijnis
Mastering EngineerTom Peeters
Editing SoftwarePyramix
Digital ConvertersdCS