Antonio Caldara and the cello

Antonio Caldara and the cello

Antonio Caldara and the cello

In a lively and enterprising new disc devoted to the music of Antonio Caldara, cellist Josetxu Obregón leads his ensemble La Ritirata in instrumental and vocal works.

In his youth in Venice (in the 1680s/1690s), Caldara drew significant praise for his own cello playing, and his understanding of the instrument and its possibilities stayed with him throughout a career which saw him immersed also in the rich musical cultures of Mantua and Rome before he became a valued member of the Hofkapelle in Vienna; he worked there for the last twenty years of his life, contributing to the glories of the Austro-Italian Baroque at the Imperial Court of the highly musical Charles VI (whom Caldara had also served in Barcelona).

Here, the cello, ranging from the lyrical to the virtuosic, is called upon as a soloist in concerto, sinfonia and sonata pieces, but this recording is enriched further by the presence of two singers, soprano Eugenia Boix and mezzo Luciana Mancini – a cantata, Porgete per pietà, from the former and three arias from the latter. Mancini sings “Pompe inutili” (from the oratorio Maddalena ai piedi di Cristo), whose ravishing vocal lines are matched by the obbligato cello part.

Josetxu Obregón has made a number of previous Glossa recordings exploring the early history of the cello, and in the company of La Ritirata has also contributed to the burgeoning reassessment of this major composing figure with their Caldara The Cervantes Operas programme. Now comes a vivid and varied release to commemorate 350 years since the birth of Antonio Caldara!

Concerto per camera a violoncello solo con due violini e suo basso (Re menor)

01 Allegro 2:51

02 Larghetto 2:41

03 Allegro assai 3:05


04 Aimè sento il mio core (Larghetto) 10:50

Aria de: Vicino a un rivoletto (Cantata para contralto, violín, violoncello y bajo continuo)


Sinfonia a violoncello solo (Re mayor)

05 Adagio 2:58

06 Allegro 1:12

07 Grave 1:28

08 Presto 0:54


Porgete per pietà

Cantata for voz,, con violines y violoncello

09 Recitativo: “Porgete per pietà” 0:44

10 Aria: “Amor quando sarà” (Larghetto) 10:14

11 Recitativo: “Quanti sospiri e quanti” 0:40

12 Aria: “T’amai non niego è ver” (Allegro) 6:33

13 Largo 2:11

De: Sonata XVI a violoncello solo col basso continuo (Sol mayor)

14 Allegro 2:35

De: Sonata IX a violoncello solo col basso continuo (Sol mayor)

Lezioni per il violoncello con il suo basso

15 Lezione no 6 2:24

16 Lezione no 14 1:02

17 Lezione no 20 (Adagio) 2:34

18 Pompe inutili 7:35

Aria de: Maddalena ai piedi di Cristo (Oratorio)

Sonata III a violoncello solo col basso continuo

19 Largo 2:37

20 Allegro 1:46

21 Aria andante 2:53

22 Allegro assai 3:30

23 Dolce è pur d’amor l’affanno (Larghetto) 4:39

Aria de: Soffri, mio caro Alcino (Cantata para contralto y bajo continuo)

24 Adagio

De: Sonata V a violoncello solo col basso continuo (Fa mayor) 3:13

La Ritirata

Eugenia Boix, soprano

Luciana Mancini, mezzo-soprano

Anaïs Chen, violín

Pablo Prieto, violín

Ruth Verona, cello

Ismael Campanero, violone & contrabajo

Daniel Zapico, tiorba & guitarra barroca

Franziska Fleischanderl, salterio

Daniel Oyarzabal, clave & órgano positivo

Josetxu Obregón

cello solista & dirección artística

Grabado en Getafe (Auditorio del Conservatorio Profesional de Música), España, en octubre de 2019

Ingenieros de sonido Federico Prieto y Manuel Prieto | Supervisor artístico: Olivier Fourés

Editado por Olivier Fourés, Federico Prieto y Josetxu Obregón

Afinación de clave y órgano positivo: Daniel Oyarzabal

Tour manager, La Ritirata: Carlos Bercebal

Productor ejecutivo & director editorial: Carlos Céster

Fotos de portada: Michal Novak | Fotos de las sesiones de grabación: Tamar Lalo

Traducciones: Mark Wiggins (ensayos, inglés), Pierre Élie Mamou (ensayos, francés), Andrea Friggi (textos cantados, inglés)

© 2020 note 1 music gmbh

"Josetxu Obregón’s portrait of Antonio Caldara, cellist" - Ralph Graves. WTJU91

“Obregón’s early music ensemble, La Ritirata plays to their usual high standards. I especially like the sound of Obregón’s baroque cello. Obregón plays with sensitivity, bringing warm, expressive tones out of his instrument[…]”


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