The music of 18th-century Italian composer Gaetano Brunetti is as much a well-kept secret today as it was in Brunetti’s own time. According to the notes, Brunetti composed the vast majority of his music for the Spanish court of Carlos IV, and the king coveted it so much that he prohibited anyone else from seeing or performing it outside his circle. Likewise the only recordings of Brunetti available are this CPO issue and a recent Capriccio recording of symphonies. What a shame! At least from this sampling of four string quartets (he wrote more than 50), Brunetti composed some extraordinarily lovely, inspired, and engaging music. Relying primarily on models of Joseph Haydn, Brunetti seems to have drawn a lifetime’s inspiration, often equalling the master’s clever wit and humorous imagination.
The final presto of the second quartet in G is a fine example of Brunetti’s invention and playfulness, with its skittish violin line playing cat and mouse with the rest of the ensemble before petering out. The final quartet in E features equally striking moments. The bizarre opening Allegretto espressivo includes so many contrasting rhythmic changes that the effect borders on the musically schizophrenic. The concluding Allegro di molto often echoes these changes, though it’s ultimately overwhelmed by the programmatic hi-jinks of the first violinist (who incidentally was Brunetti himself).
Much of the credit for bringing Brunetti’s music to life must go to the brilliant, breathtaking Schuppanzigh Quartet. I haven’t been this excited about a string quartet since the advent of the Quartet Mosaiques, and if you’re familiar with that group, you’ll realize just how good this ensemble must be! CPO’s sound is likewise extraordinary, with each performer’s instrument richly detailed yet set in a believably dry acoustic space. Project coordinator Olaf Krone’s notes couldn’t be more informative and entertaining. All in all a remarkable offering. More Brunetti and anything by the Schuppanzigh quartet, please!
