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Arcangelo CORELLI (1653-1713) 12
Sonate a Violino e Violone o Cimbalo Op. VCD 1 Sonata
in D, Op. 5,1 [12:02] Sonata
in B flat, Op. 5,2 [10:23] Sonata
in C, Op. 5,3 [11:57] Sonata
in F, Op. 5,4 [10:31] Sonata
in g minor, Op. 5,5 [10:47] Sonata
in A, op. 5,6 [11:04]CD 2 Sonata
in d minor, Op. 5,7 [08:44] Sonata
in e minor, Op. 5,8 [11:16] Sonata
in A, Op. 5,9 [11:23] Sonata
in F, Op. 5,10 [09:19] Sonata
in E, Op. 5,11 [07:59] Sonata
in d minor, Op. 5,12 'Follia' [11:05]
Stefano Montanari (violin) Accademia
Bizantina/Ottavio Dantone rec.
April, August 2002, Sala del Refettorio di S. Vitale, Ravenna, Italy
ARTS 47724-8
[65:33 + 59:23]
"Few things seem today as obvious and uncontested in the history
of music as the fact that Arcangelo Corelli was, for his contemporaries
and successors alike, a 'model' of 'style' and 'classicism':
this was affirmed by pupils, repeated by theorists and endorsed
by historians and musicologists from Burney to Torchi, from
Pincherle to Rinaldi". So wrote the Italian musicologist
Franco Piperno. The number of editions of Corelli’s works are
further evidence of his unique stature in the history of music.
His op. 5, for instance, was first published in 1700 and appeared
in 42 editions until the end of the 18th century. 'Balance'
and 'good taste' are perhaps the most appropriate words to describe
Corelli's style. According to Thomas Twining, son of a tea merchant
from London and a great lover of music, Francesco Geminiani
once described his teacher Corelli with these words: "...
his merit was no depth of learning like that of Scarlatti nor
great fancy, or rich invention either in melody or harmony;
but nice ear, & most delicate taste, which led him to select
the most pleasing harmonies & melodies, & to construct
the parts so as to produce the most delightful effect upon the
ear". It is perhaps this ideal of balance and good taste
which was the reason he put so much time and effort into preparation
for the printing of his own works. It is probably as a result
of this that only five collections were published during his
lifetime. The last series, 12 Concerti op. 6, appeared after
his death.
This picture of a man most concerned about balance and good taste is
rather at odds with eyewitness accounts of his playing. One
of these says: "I never met with any man that suffered
his passions to hurry him away so much whilst he was playing
on the violin as the famous Arcangelo Corelli, whose eyes will
sometimes turn as red as fire; his countenance will be distorted,
his eyeballs roll as in agony, and he gives in so much to what
he is doing that he doth not look like the same man." This
tells a lot about the difference between music as it was printed
and the way it was actually performed. Even during his life
editions of his op. 5 were published with added ornaments for
the slow movements. Although there was some controversy about
the claims that these ornaments had been written out by Corelli
himself, there can be little doubt that the sonatas in their
printed form are mere skeletons of the works as they were played
by the composer. As was common practice in the 17th and 18th
centuries, the addition of ornaments was left to the performer.
The interpreters on this disc are well aware of this, and Stefano
Montanari is not afraid of adding ornaments in abundance to
both slow and fast movements.
The description of Corelli's playing also suggests his works are meant
to be expressive. The sonatas for violin and bc op. 5 are ample
evidence of that. The very first sonata of the set immediately
shows Corelli at his expressive best. It is a sequence of sections
with contrasting tempo indications: grave, adagio, grave, allegro,
adagio. Because of these striking contrasts this movement can
be compared with the Italian keyboard toccata of the 17th century.
This sonata and the five that follow belong to the genre of
the 'sonata da chiesa', whose slow movements are mostly lyrical
in character, whereas the fast movements are usually very virtuosic
and contrapuntal. The second half of the set consists of 'sonate
da camera', although the difference between the two halves isn't
as big as one may expect. Some movements in the first half are
dances in disguise, whereas some dances in the second half are
actually adagios which are no less expressive than the slow
movements in the first half. The split of this set into two
parts is reflected by the scoring of the basso continuo: the
'sonate da chiesa' are performed with both organ and harpsichord,
with additional strings (cello and violone) and lute, whereas
in the 'sonate da camera' the basso continuo part is mostly
realised by the harpsichord with a string bass only.
The collection ends with a series of variations on the 'Follia', a
chord progression connected to a melodic pattern which dates
from the 16th century. It is here that Corelli reveals the full
panorama of his virtuosity, and here one could well imagine
him rolling his eyeballs in agony, as the anonymous observer
quoted above wrote. It receives a splendid performance here,
bringing to an end a recording which is simply brilliant. Stefano
Montanari is a most exciting performer, who plays with warmth
and passion. He doesn't hold back in bringing out both the expressive
and the virtuosic aspects of Corelli's sonatas, without crossing
the border of good taste. He gets excellent support from the
members of the Accademia Bizantina. The recording engineer has
done a brilliant job as well.
This interpretation is the best I know, and certainly the most dramatic
and exciting. I therefore strongly recommend this set, in particular
to those who find Corelli's music just a bit boring. If this recording
doesn't make them change their mind, nothing will.
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