Composer: Giovanni Mossi
Performer: Jorg Halubek, Leila Schayegh, Ilze Grudule
Format: FLAC (tracks)
Label: Pan Classics
Catalogue: PC10212
Release: 2008
Size: 438 MB
Recovery: +3%
Scan: yes
Sonata in D minor, Op. 1 No. 1
01. I. Adagio
02. II. Allegro
03. III. Adagio
04. IV. Allegro
Sonata in B flat major, Op. 1 No. 9
05. I. Preludio: Andante grave
06. II. Allemanda: Andante moderato
07. III. Sarabanda: Largo
08. IV. Giga: Allegro
Sonata in A major, Op. 1 No. 2
09. I. Adagio
10. II. Allegro
11. III. Adagio
12. IV. Allegro
13. V. Allegro
Sonata in C minor, Op. 1 No. 10
14. I. Preludio: Largo
15. II. Allemanda: Allegro
16. III. Giga: Allegro
17. IV. Sarabanda: Largo
18. V. Tempo di minuet
Sonata in B minor, Op. 1, No. 5
19. I. Adagio
20. II. Allegro
21. III. Adagio
22. IV. Allegro
23. V. Allegro moderato
Sonata in D major, Op. 1 No. 12
24. I. Alla francese
25. II. Allemanda: Allegro moderato
26. III. Sarabanda: Largo
27. IV. Corrente: Allegro
28. V. Gavotta: Allegro
Despite the elite circle of friends and colleagues — which included Corelli, Valentini, Scarlatti, Locatelli, and even Handel — that surrounded Giovanni Mossi, his fame as a composer did not last much beyond his 1742 death. As a violinist himself, it was only natural that his first published set of works would be a set of six sonatas for violin with cello and harpsichord. The influence of Corelli on Mossi’s works is clear, yet Mossi branched out from the more rigid movement structure used by Corelli and did more to explore neighboring tonal areas. Performing these six charming works is Baroque violinist Leila Schayegh joined by violinist Ilze Grudele and harpsichordist Jörg Halobek. Schayegh’s tone is sweet and clear, her intonation is precise, and her dynamics do a nice job shaping the musical lines. Perhaps the most interesting aspect of her performance, as detailed in her liner notes, would be her choices regarding ornamentation, which are applied organically and brilliantly throughout the album. Recorded sound quality is pleasant, with a nice balance between the three instruments, and doesn’t unduly favor the violin line. Despite all of these positive attributes, Schayegh’s still feels a bit safe and minimally enthusiastic. Fans of music from this era will still find this an appealing addition to their collections.