Review

Dario Castello
Sonata No.4:

Arranged by Richard I. Schwartz and Mark LaFratta

trombone, soprano instrument, keyboard

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 2005
URL: http://www.warwickmusic.com

Score and parts

Primary Genre: Chamber Music

Dario Castello (1590-1658) served as maestro of the ensemble of wind instruments at St. Mark’s Cathedral during the mid 17th century. Sonata No.4 comes from Book I of twelve Sonate Concertante In Stile modern, per Sonare nel Organo, overo Spineta con diversi Instrumenti. A2. è3. Voci Con Basso Continuo, first published in Venice in 1621. The editor’s notes continually refer to “Castello’s manuscript” as the basic reference or origin for their modern performing edition. But they initially identify a 1658 Venetian edition as the point of origin, both in their notes and in the titles given on the scores. This bit of confusion notwithstanding (I suspect they use the term “manuscript” to refer to the 1658 edition), kudos are due for the page of informative notes illuminating the work’s provenance, Castello’s biographical information, editorial decisions, directions on instrumentation and performance practice and a convenient facsimile edition citation. Castello’s music is widely recognized today as one of the finest examples of early Italian, baroque style. This sonata hails from the canzone genre that led to the multi-movement trio sonata. It is comprised of eleven sections variously marked Adagio, Allegro, Presto, utilizing 4/4 and 3/2 meter. The editors suggest metronome markings for each section that seem in keeping with the nature of the music, which includes interesting counterpoint, challenging solos, sequences and duo passages. This is not a transcription. Castello designates Sopran, Trombon or Violetta, Organo or Spineta for the three parts. Trombone sometimes doubles bass but functions more as a solo voice, rather equal to soprano.

In keeping with Warwick’s usual high standard the scores are clean, clear, easy to read. Page turns are placed between section breaks in the solo instrument scores, a welcome feature because we are adjured to avoid photocopying on the title page.

Now for the quibbles. Only one keyboard score is included, which contains several awkward page turns. This is perfectly acceptable unless one wishes to perform the sonata with a bass instrument, either as a compliment to keyboard or instead of keyboard. Both possibilities are authentic and perhaps desirable. Figures are given below the bass line, a welcome inclusion, but the lower case letter “b,” in Times New Roman font, I believe, is used in place of the traditional flat symbol. Why? Proper flat symbols are legion in the bass line itself. Lastly, the realization prepared by the editors contain several parallel fifths and octaves, both with the bass line and the solo lines. It also doubles the solo lines or sounds above them from time to time. While these maneuvers may sound acceptable to modern ears they are not among the best practices of continuo playing, which are described in detail by baroque performers and tutors. The realization is fairly simple, never extending beyond three voices that all tend to lead well with the exception of the aforementioned glitches. However, the editors had to make a decision about the role of their realization in this sonata. They could realize only the rhythm of the bass line, thereby generating mere accompaniment, or they could inject little soloistic flourishes thereby elevating the keyboard part beyond that of accompaniment. They chose the latter, and for good reason. There are several moments in the music, particularly at cadences, where both solo voices and bass are stagnant. Keyboard action helps move the music forward, which is good for performers who are committed to playing the score without embellishment. For those who wish to inject ornaments in the style of the day, the conflicting realization is easy to set aside. Despite these problems, this is quality music from antiquity that puts our instrument forward in a soloistic capacity. Thanks to Warwick Music for making it easily available to modern trombonists.

-Mike Hall
Old Dominion University