Baldassare Galuppi is remembered for his operas, if at all, more than for his keyboard music. But
Peter Seivewright is on a mission to change that with his series of ten discs of piano sonatas by Galuppi. These sonatas are hard to describe because in so many ways they are unlike any other keyboard music of the period (ca. 1755-1785). Half of the sonatas in this volume are only two movements long, while the other half are three, but not in the expected fast-slow-fast order. The movements are built with simple, clear lines, usually just a melody, lightly ornamented, and accompaniment. It's the melodies that betray Galuppi's operatic talents. They are full of charm, and particularly in the slow movements,
Seivewright plays them as if they were arias. The composer to whom Galuppi is most often compared, in terms of keyboard writing, is Domenico Scarlatti. This comparison is obvious in the fast movements where Galuppi uses quirky rhythms (e.g., the Allegro energico of the Sonata in A flat major); figures split between hands for an offbeat feel (the Sonata in E major and the Sonata in B flat major); and curious harmonies (the Con moto of the Sonata in D major).
Seivewright plays Galuppi's sonatas with the same attention to detail and thoughtfulness most pianists give to Bach. His gentle touch makes it easy to imagine these being played on a harpsichord or clavichord, although they were originally written for the piano. It is attractive music amiably performed.