EDT. Giordani Six Quintets for Harpsichord, Two Violins, Viola and Cello, Op. I - No. 3 in A; No. Sin C; No. 6 in G. Six Quartets for Flute, Violin, Viola and Cello, Op. 2— No. 5 in D; No. 6 in G. L'Astrée (Ubaldo Rosso, Ii; Francesco d'Orazio, Franco Andrini, vns; Alessandro Tampieri, va; Stefano Veggetti, vc; Giorgio Tabacco, hpd).

Opus Ill ® tD OPS30-233 (67 minutes: DDD).

Now if you want to be clear, follow closely. Two years ago L'Astrée recorded (10/97) five quartets by Giardini; now the ensemble offers quartets and quintets by the rather similarly named Giordani, who was just a bit older - no, not the Giordani who wrote the song Caro rnio ben, who was yet another contemporary. To add to the confusion, both Giardini and Giordani were active in London at the same time (from the middle oithe eighteenth century), the former as a brilliant violinist who led the orchestra of the Italian Opera and, later, of the Three Choirs Festival and the King's and Haymarket Theatres, and composed several works for the stage, the latter as harpsichordist in a travelling opera company consisting chiefly of members of his large family, a composer of numerous operas for London and Dublin (where for many years he occupied a prominent place in Irish musical life) and also a conductor at the King's Theatre.

Though imbroiled in lawsuits over accusations of plagiarism, Giordani produced a quantity of easygoing chamber music for domestic use, in ga/ant style, avoiding counterpoint and with simple melodies, rhythm and harmonies. The Op. I Quintets, published in 1771, nevertheless reveal interestingly varied layouts and give uncommon freedom to the harpsichord and the cello in particular (most notably in No. 3 in A with its cheery outer movements), though the harpsichord is too distantly placed and internal balance is casual, repeated accompaniment figures apt to chug along unthinkingly. The playing in general could be described as enthusiastic rather than subtle or imaginative. By far the most interesting movement, for its long cantilena, is the C minor Largo of No. 6. Balance is better and the recording cleaner in the quartets, which appeared in print the following year, and are musically more developed both in structure and in technique; the flute is treated almost concertante, especially in the D major work, but the cello also has prominent and demanding parts. The G major Quartet ends with a very agreeable Allegretto. In its modest way, this part of the disc is enjoyable. LS