Composer: João Domingo BOMTEMPO (1775-1842)
Works: Piano Sonatas Volume 2
Performer: Nella Maissa, piano
Recorded: Studio Jorsom, May and July 1989
Label: STRAUSS PORTUGALSOM SP4319
Duration: 62:26
Review Date: November 2001
João Domingo Bomtempo’s contributions to early 19th-century piano literature are gaining overdue recognition, and the release of Piano Sonatas Volume 2 is a notable addition to the discography of this significant Portuguese composer. Nella Maissa’s interpretation of these works reveals the nuanced interplay of lyricism and technical virtuosity that characterizes Bomtempo’s style, rooted in the classical traditions of the late Enlightenment while simultaneously echoing the burgeoning romantic aesthetic.
Bomtempo, often described as an assimilator rather than an innovator, was profoundly influenced by his contemporaries, particularly Beethoven and Clementi. His return to Lisbon from Paris and London positioned him as a pivotal figure in the Portuguese classical music scene, where he merged the lyrical sophistication reminiscent of Mozart with a more dynamic and expansive form reflective of the Beethovenian ethos. The two sonatas from Opus 15, as well as the expansive Opus 20, illustrate this synthesis splendidly.
The Sonata No. 11, Op. 20, composed between 1812 and 1816, spans a substantial 33 minutes and showcases a rich tapestry of melodic lines and structural integrity. The first movement, though occasionally prone to a certain diffuseness, possesses an underlying coherence that Maissa adeptly navigates. Her performance exhibits a keen sense of phrasing; she draws out the lyrical contours of the principal theme, allowing the music to breathe and resonate. The sonata’s development section, with its intricate hand crossings and scalar passages, is executed with a dexterity that highlights Maissa’s formidable technique, even at the age of 75 during this recording.
In the Op. 15 No. 1 Sonata, Maissa embraces the Beethovenian staccato with a vigor that invokes the spirit of the late Classical style while foreshadowing the Romantic idiom. The playful rondo is particularly effective, where her articulation of the rhythmic patterns is both crisp and buoyant, creating an engaging dialogue between the thematic material. This contrasts with the more introspective moments that Bomtempo crafts with meticulous care, where Maissa’s touch softens to reflect the composer’s lyrical sensibilities.
The engineering quality of this recording, produced in a studio environment, does occasionally reveal a constricted acoustic that limits the tonal richness of Maissa’s piano. Yet, her musicality shines through, as she imbues each phrase with a thoughtful approach that compensates for any sonic limitations. The clear delineation of counterpoint and the careful balance of dynamic contrasts testify to the recording’s fidelity, allowing the listener to appreciate the subtle interplay of voices within Bomtempo’s textures.
Historical context is essential in understanding Bomtempo’s works. His sonatas serve as a bridge between the Classical and early Romantic periods, embodying a transitional style that reflects broader European trends while remaining distinctly Portuguese. The influence of Beethoven is palpable, particularly in the harmonic explorations and the emotive depth of the slow movements, which often evoke a sense of yearning that is strikingly poignant.
In conclusion, Nella Maissa’s performance of Bomtempo’s Piano Sonatas Volume 2 is a commendable endeavor that illuminates the sophisticated blend of lyricism and virtuosity inherent in these works. This recording not only enriches our understanding of Bomtempo as a composer but also affirms Maissa’s artistry as a pianist capable of conveying the complexities of these sonatas with grace and authority. For those interested in the development of piano music in the early 19th century, this disc represents an essential listening experience, shedding light on a composer who deserves a more prominent place in the canon of classical music.
