Urania Records
CHELLERI: SIX SYMPHONIES NOUVELLES
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FORTUNATO CHELLERI (1690-1757)
SIX SYMPHONIES NOUVELLES
Symphony no. 1 in D Major
Symphony no. 2 in C Major
Symphony no. 3 in B-flat Major
Symphony no. 4 in A Major
Symphony no. 5 in D Major
Symphony no. 6 in B-flat Major
Brussels Symphony in B-flat Major
Polonaise from the Brussels Symphony in A Major
ARCHIVIO DELLA SINFONIA MILANESE
Atalanta Fugiens Orchestra
Vanni Moretto, conductor
1 CD – 24 pages booklet in italian and english
Nato tra il 1686 e il 1690, Fortunato Chelleri rimane il più “vecchio” tra i sinfonisti della nostra serie. Nel suo Corpus, la Sinfonia, intesa in senso moderno, sembra essere il punto di arrivo di un lungo percorso di ricerca e trasformazione stilistica. Chelleri era un grande viaggiatore e imitatore, e queste “Sei sinfonie nuove” sono chiaramente sei studi stilistici sulle nuove tendenze in auge nell’Europa degli anni ’30 e ’40 del 700. Tuttavia la loro lampante appartenenza allo stile cosiddetto lombardo, trova una conferma nell’epiteto “of Milan” impiegato dal Burney quando cita il loro autore.
Il Chelleri sinfonista compie gesti decisi, netti e positivi, il suo fraseggio è chiaro e stagliato. Come tutti i compositori “Galanti”, egli bandisce le tonalità minori relegandole eventualmente ad alcuni movimenti lenti, dove, talvolta, si lascia andare ad una affettuosità quasi straziante, che traspare anche nell’indicazione Adagio con amore della Sinfonia di Bruxelles in si bemolle.
Born between 1686 and 1690, Chelleri is far older than any other symphonist in our series. In his Corpus, the symphony understood in a modern sense, is the accomplishment of a long path of research and transformation of style. Chelleri was a great imitator, and these “Six new symphonies” are clearly six stylistic studies on the new trends in vogue in Europe in the 1730s and 1740s. That they belong to the so-called Lombard style is confirmed by the fact that Burney uses the words “of Milan” when he cites their author. The symphonist Chelleri makes neat, positive gestures, his phrasing is clear and sharp. Like all galant composers, he banishes the minor keys, possibly relegating them to slow movements where, at times, he lets himself go to almost heart-wrenching affection, as the recommendation Adagio con amore [adagio with love] in the Brussels Symphony in B flat also shows
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