Johan van Veen
, December 2012
In the three trio sonatas the violin and the cello are treated on strictly equal terms. They are all in four movements, combining elements of the Corellian sonata da chiesa and sonata da camera. This also means that they are dominated by counterpoint. The slow movements are often quite expressive, for instance the sicilianas from the Trio sonatas D-WD 683 and 689. The latter ends with a beautiful fugue, the former with a sparkling gavotta. The Sonata in g minor includes an expressive largho (sic) and ends with an exuberant presto.
In the middle of the disc we find one of Platti’s keyboard sonatas. In his keyboard works he points in the direction of the new fashions of the 18th century. This sonata is in four movements; the second an expressive larghetto which Florian Birsak plays in an improvisatory manner.
He uses a fortepiano, both in this sonata and in the basso continuo of the trio sonatas. It is an interesting aspect of these performances.
Florian Birsak’s playing is outstanding, and so are the performances of Rüdiger Lotter and Sebastian Hess. They fully explore the qualities of Platti’s music, and both the virtuosic and the more expressive aspects of these pieces are convincingly conveyed. The tempi are well-chosen: the fast movements come off really fast, and in the slow movements they take their time in order to expose the expression. The ensemble is immaculate and results in an eloquent dialogue between the three instruments. © 2012 MusicWeb International Read complete review