• BIS1795 Katalognummer
  • 7318590017951 EAN
  • 1CD Format
  • 2012 Utgivelsesår
  • På lager Tilgjengelighet

London Baroque

Various Composers



Cima, Giovanni Paolo: Sonata a Tre
Turini, Francesco: Sonata a Tre Secondo Tuono
Buonamente, Giovanni Battista: Sonata 8 sopra La Romanesca
Castello, Dario: Sonata Decima a 3, Due Soprani è Fagotto overo Viola
Merula, Tarquinio: Chiaconna
Uccellini, Marco: Sonata 26 sopra La Prosperina
Falconieri, Andrea: Folias echa para mi Señora Doña Tarolilla de Carallenos
Cazzati, Maurizio: Ciaconna from Correnti e balletti… a 3. e 4., Opus 4 (Antwerp, 1651)
Marini, Biagio: Sonata sopra fuggi dolente core
Cavalli, Francesco: Canzon a 3
Legrenzi, Giovanni: Sonata à 3. Due Violini, e Violone La Boiarda
Pandolfi Mealli, Giovanni Antonio: Il Marcquetta
Bononcini, Giovanni Maria: Sonata Quinta dell’ Ottavo Tuono un tuono più alto
Vitali, Giovanni Battista: Ciaconna from Varie partite del passemezzo, ciaconna… a tre, Opus 7 (Modena 1682)
Pestolozza, Giacinto: Sonata 12
Arcangelo Corelli: Sonata, Op.1 No.12

Velg antall  


BBC Music Magazine, January 2013: ”A kaleidoscopic range of styles and invention, stylishly played.”

In their survey of the trio sonata, the four members of London Baroque have already visited France, England and Germany before arriving at the actual birthplace of the genre – Italy in the 17th century.
There the years around 1600 had seen ground-breaking developments in vocal music, such as the seconda prattica characterised by the clear division between a single melodic line and a supporting continuo bass. Now instrumental music was becoming important in its own right, and soon the violin was recognized as the ideal vehicle for a new style which is obvious already in the very first trio sonatas, such as Giovanni Paolo Cima’s Sonata a tre from 1610.
The term ‘trio sonata’ is a later expression, and in 17th-century Italy the terms commonly used were ‘Sonata a due’ (two melody instruments plus continuo), and ‘Sonata a tre’ (three melody instruments – usually two soprano and one bass – plus continuo). The form could also vary, from ‘free’ sonatas to sets of variations, chaconnes and passacaglias.
From this almost bewildering variety, London Baroque has selected 16 works which chart the development from the origins of the genre to its ‘coming of age’ with Arcangelo Corelli, in the 1680s. Already famous in his own lifetime, when he was one of the most influential composers in all of Europe, Corelli is an exception among the composers featured here: many of his colleagues are all but forgotten today, and little is known about their lives. There are also great gaps in our knowledge about the music itself – for instance regarding the instrumentation (what kind of cello would have been used?) and the use of ornaments. In such uncharted waters,
London Baroque provides much-needed and expert guidance, as testified to in a review of their recording of sonatas from 17th-century France on the German website Klassik Heute: ‘Everything that one might possibly wish for in a performance of this music is present here: charm, elegance, eloquence, force, flexibility, fire, intimacy, and most importantly: soul.`


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The Trio Sonata in 17th-Century Italy The Trio Sonata in 17th-Century Italy London Baroque

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