In copisteria del Conte – The musical delight in Genoese palaces (Snakewood Editions, SCD202401) forms a fascinating musical journey of discovery along the less-traveled paths of eighteenth-century Italian musical practice. The project, conceived and conducted by cellist Jacopo Ristori, is devoted to the repertoire selection from the music collection of Count Federico Taccoli (ca. 1727–1809), who served as a copyist in Genoa and played a unique role in the city's cultural life. Rather than limiting himself to Genoese composers or local styles, Ristori chose a broader, documentary-inspired approach: reconstructing the musical practice as it unfolded in Genoese salons, with Taccoli as the central figure.
The copyist as curator
Genoa in the eighteenth century was not a center of music publishing like Amsterdam, Paris, or London. For the elite who wanted to perform music, the copying practice of figures like Taccoli offered an alternative: manuscripts of foreign editions or unique collections circulated through his workshop. Taccoli, who was himself a nobleman and, according to Genoese musicologist Davide Mingozzi, had an eccentric and rather unsympathetic character, supplied music to music lovers of his time. His carefully copied scores—nowadays preserved in the library of the Conservatorio Paganini—form the basis for this double CD, which contains exclusively works that have never been released on CD before, with one exception.
A kaleidoscope of styles
Although the repertoire is geographically diverse—from Naples to Parma and Paris—the underlying logic remains strong: all works come from Taccoli's practice. The result is a richly varied program in which the sound palette of the second half of the eighteenth century comes surprisingly vividly to life.
One of the most striking choices is the inclusion of two sonatas by the virtually unknown Gasparo Arnaldi, composed for an unusual ensemble of psaltery, violin, and cello. The psaltery, a trapezoid-shaped stringed instrument related to the dulcimer, played an important role in Italy at that time, but is rarely heard today. Anna Pontz brings the instrument to life here with subtlety and clear timbre. Arnaldi's sonatas are intimate and playful, a sonic curiosity that tickles the ear and captures the heart.
Cello works form the core of this release, which is unsurprising given Ristori's specialization. Luigi Boccherini (1743–1805), the best-known name on the program, is represented with a Sonata in F (G 579) and a Sonata for two cellos in D (G 571). Particularly in the first sonata, the choice of double bass as basso continuo stands out: a nod to Boccherini's father, a double bassist with whom he performed together in Genoa.
Two more cello duets — titled Competition — are by Carlo Ferrari (1714–1790), a poorly documented but evidently gifted composer. The title CompetitionGara, meaning 'contest' or 'duel,' suggests virtuosic interplay between the two voices, though technical acrobatics are carefully avoided. This music was written for experienced amateurs: elegant, lively, and perfectly balanced.
The Neapolitan Michele Gallucci, likewise a name absent from major music encyclopedias, opens the album with a refined Sonata in D for cello and basso continuo. The structure with a rondo as finale and a lyrical central movement is representative of the galant idiom of the period.
Not only the cello receives prominence: the violin also appears with two duets by Emanuele Barbella (1718–1777). This Neapolitan violinist and composer, student of Leonardo Leo among others, was active at the Teatro San Carlo and wrote countless pieces for unaccompanied violin. The two sonatas recorded here — in F and G — are graceful, melodic, and well-constructed, giving violinists Antoinette Lohmann and Sara de Vries ample opportunity to display their ensemble playing.
The Hoffmeister-Nardini puzzle
Particularly fascinating is the presence of two string quartets initially attributed to Pietro Nardini, but now believed to be by Franz Anton Hoffmeister (1754–1812). The confusion may be due to Taccoli himself, who for commercial reasons may have used Nardini's name — a well-known figure in Italy and student of Tartini — to make his copies more appealing. Aside from the authorship question, these quartets are lively, classical in structure, and performed with particular elegance by the Gut String Quartet.
Ensemble and performance
The ensemble consists of both established names and young, promising musicians. Antoinette Lohmann, Sara de Vries, Viola de Hoog, Jesse Solway, and theorbo player Earl Christy form, together with Ristori, a homogeneous whole. The performances demonstrate both historical knowledge and artistic flair. The articulation is nuanced, the phrasing sparkling, and the recording quality is clear and spacious. Equally noteworthy is that each work is approached with care, however obscure the composer may be.
This project transcends the merely musical: it is a small piece of cultural archaeology that offers insight into the musical practices of eighteenth-century Italy — a period often overshadowed by the great masters of the Baroque and Romantic eras. At the same time, it is a tribute to the amateur music lovers of that time, who with dedication and passion played music in salons and private circles.
With At the Count's Copyist proves that musical archaeology need not be dusty. On the contrary: it is vibrant, surprising, and above all enriching. This is an album that sparks curiosity, delights the ear, and invites repeated listening. A true gem for lovers of the galant period, cello music, and musical discovery.
