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   Concertos Op. 6. Vol. 2



Год издания : 1990/2001

Компания звукозаписи : Hmf Classical Express

Время звучания : 57:02

Код CD : HCX 3957015

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CD, стоящие на полке рядом : Classics (Reconstruction)      

Nicholas McGegan - Philharmonia Baroque

Vol.1

========= from the cover ==========

Arcangelo Corelli was at work preparing his Opus 6 in 1711 and wrote a dedication for the collection in 1712. However, the twelve "Concerti Grossi with a Concertino of two Violins and Violoncello obbligati and two other Violins, Viola and Bass for the Concerto grosso that can be doubled at will" did not appear until 1714, the year after the composer's death, issued by the printer Etienne Roger of Amsterdam. As the title specifies, these works juxtapose the sound of a trio-sonata group (two violins, cello, and continuo) with a string ensemble, also provided with a continuo instrument - a Roman practice that goes back to Alessandro Stradella around 1675. (In the original performances of the concertos, the solo violins were played by Corelli and Matteo Fornari, the solo cello by Giovanni Lorenzo Lulier). The first part of the collection1 (Concerti I-VIII) consists of concertos corresponding to the church sonata type established in Corelli's previously published Trio sonatas and Sonatas for solo violin: an alternating succession of slow and fast movements, plus an ad libitum Pastorale at the end of Concerto VIII, the celebrated concerto for Christmas Eve (which may have been composed as early as 1690). The "Second Part for Chamber" (Concerti IX-XII) corresponds to the chamber sonata type, "Preludes, Allemandes, Correnti, Gigues, Sarabands, Gavottes, and Minuets."

Like every production in Corelli's small output, the Concerti Grossi were polished to perfection in private performance before appearing in print. George Muffat reported that he had heard in Rome in 1682 "with great pleasure and astonishment, several concertos... composed by the artful Signor Arcangelo Corelli, and beautifully performed with the utmost accuracy by a great number of instrumental players." (Although Roman orchestras sometimes contained more than eighty musicians-one performance directed by Corelli in 1689 featured 39 violins, 10 violas, 17 cellos, 10 basses, a lute, two trumpets, and continuo keyboards - a more typical ensemble, as directed by Corelli in 1690, consisted of the solo concertino with harpsichord continuo and. a concerto grosso composed of four violins, two violas, cello, and organ). Francesco Geminiani noted the "uncommon accuracy" of their performance and marvelled at the unison bowings Corelli demanded, so that "at his rehearsals, which constantly preceded every public performance of his concertos, he would immediately stop the band if he discovered one irregular bow."

It is not so much the virtuosity demanded by the concertos as the classical elegance and polish achieved only by such long preparation of these deceptively simple works that creates much of their effect. Such performances explain why Corelli's concertos swept Europe after their initial appearance in print: some seventeen editions appeared between 1714 and 1790.

Concerti VII and VIII of Corelli's Op.6 continue the genre of the church sonata, concluding with the famous concerto "fatto per la notte di Natale" - the Christmas Concerto - with its optional final Pastorale movement that embodies the Roman tradition of serenading the infant Christ. Even today, shepherds from the Abruzzi come down to Rome at Christmas to play the shawms and bagpipes whose sound was evoked by Corelli, Handel, Domenico Scarlatti, and many other eighteenth-century composers.

The remaining four concerti of Op. 6 correspond to the chamber sonata {sonata da camera), which employs explicit dance types. As in the concerti da chiesa, however, Corelli's handling of the genre is more subtle and varied than textbook descriptions can suggest. All four of the concerti begin with a Preludio, but like the opening movements of J.S. Bach's keyboard partitas no two of Corelli's Preludi duplicate each other. The opening movement of Concerto IX is scored for tutti in the dotted rhythms associated with the French ouverture. The prelude to Concerto X presents the solo instruments uninterruptedly over a walking bass, periodically reinforced by the tutti. The Preludio of XI - for tutti throughout - shares the walking bass, but punctuates the first two statements of the material with mysterious silences. The Preludio of XII proceeds in dialogue between the soli and tutti.

After the opening prelude, the four concerti proceed in equally diverse ways. None of them consists of only dance movements, all four having at least a non-dance adagio movement. (Concerto XII, indeed, has dance movements as only two of its five components.) The dance types themselves are treated with great variety, both in medium (dialogue or alternation of soli with tutti, or tutti alone) and in character. The Allemanda of Concerto IX is tightly woven, that of XI constitutes a perpetuum mobile for the cello part with light interjections from the solo violins and the tutti. The Sarabanda of XI is marked "Largo," that of XII "Vivace."

Although the form of the dance movements is the standard binary one, Corelli displays great sophistication in its handling. In the Allemanda of Concerto IX, for example, the conventional parallelism between the opening of the first section and the opening of the second is shattered by a series of ringing chords. Corelli's minuets are often tripartite, ABA, with echo repeats at the end of the A sections.

Throughout these concertos we are struck by the delicacy of Corelli's style. The Corrente of IX is a study of elegance in the management of phrase structure comparable with the sonatas of Domenico Scarlatti. Corelli always employs "Coreilian" cliches - walking basses, sequential suspensions in seconds, patterned string figuration - in ways that constantly surprise and delight us.

- Frederick Hammond


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   1 Vivace - Allegro - Adagio         0:01:59 Concerto Grosso In D Major, Op. 6/7
   2 Allegro         0:01:58 -"-
   3 Andante Largo         0:01:56 -"-
   4 Allegro         0:01:05 -"-
   5 Vivace         0:01:05 -"-
   6 Vivace - Grave. Arcate, Sostenuto e Come Sta         0:01:11 Concerto Grosso In G Minor ("Christmas Concerto"), Op. 6/8
   7 Allegro         0:02:14 -"-
   8 Adagio - Allegro - Adagio         0:02:45 -"-
   9 Vivace         0:00:56 -"-
   10 Allegro         0:02:13 -"-
   11 Pastorale Ad Libitum: Largo         0:02:51 -"-
   12 Preludio: Largo         0:01:14 Concerto Grosso In F Major, Op. 6/9
   13 Allemanda: Allegro         0:02:31 -"-
   14 Corrente: Vivace         0:01:28 -"-
   15 Gavotta: Allegro         0:00:46 -"-
   16 Adagio         0:00:27 -"-
   17 Menuetto: Vivace         0:01:40 -"-
   18 Preludio: Andante Largo         0:01:48 Concerto Grosso In C Major, Op. 6/10
   19 Allemanda: Allegro         0:02:12 -"-
   20 Adagio         0:00:40 -"-
   21 Corrente: Vivace         0:02:29 -"-
   22 Allegro         0:02:30 -"-
   23 Menuetto: Vivace         0:01:41 -"-
   24 Preludio: Andange Largo         0:02:06 Concerto Grosso In B Flat Major, Op. 6/11
   25 Allemanda: Allegro         0:02:19 -"-
   26 Adagio - Andante Largo         0:01:38 -"-
   27 Sarabanda: Largo         0:00:52 -"-
   28 Giga: Vivace         0:01:16 -"-
   29 Preludio: Adagio         0:01:44 Concerto Grosso In F Major, Op. 6/12
   30 Allegro         0:02:23 -"-
   31 Adagio         0:01:16 -"-
   32 Sarabanda: Vivace         0:00:55 -"-
   33 Giga: Allegro         0:02:54 -"-

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