Geminiani, Francesco

Average customer rating:

Excellent performance of a baroque masterpiece

Geminiani: Concerti Grossi Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12
Locatelli: Concerti Grossi, Op. 1, Nos. 1-6
Geminiani: Concerti Grossi Op. 3 Nos. 5 & 6, Op. 7 Nos. 1-6
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12
Muffat: Concerti Grossi, Nos. 1-6

ASIN: B0000014CS
Release Date: 1997-04-08

Tracks:

Concerto Grosso in C Minor, Op. 2 No. 1: Andante
Concerto Grosso in C Minor, Op. 2 No. 1: Allegro
Concerto Grosso in C Minor, Op. 2 No. 1: Adagio
Concerto Grosso In C Minor, Op. 2, No. 1: Allegro
Concerto Grosso In C Minor, Op. 2, No. 2: Adagio
Concerto Grosso In C Minor, Op. 2, No. 2: Allegro
Concerto Grosso In C Minor, Op. 2, No. 2: Adagio
Concerto Grosso In C Minor, Op. 2, No. 2: Allegro
Concerto Grosso In D Minor, Op. 2, No. 3: Presto
Concerto Grosso in D Minor, Op. 2, No.: Adagio
Concerto Grosso in D Minor, Op. 2, No.: Allegro
Concerto Grosso In D Major, Op. 2, No. 4: Andante
Concerto Grosso In D Major, Op. 2, No. 4: Allegro
Concerto Grosso In D Major, Op. 2, No. 4: Andante
Concerto Grosso In D Major, Op. 2, No. 4: Allegro
Concerto Grosso In D Minor, Op. 2, No. 5: Adagio
Concerto Grosso In D Minor, Op. 2, No. 5: Allegro
Concerto Grosso In D Minor, Op. 2, No. 5: Andante
Concerto Grosso In D Minor, Op. 2, No. 5: Allegro
Concerto Grosso In A Major, Op. 2, No. 6: Andante
Concerto Grosso In A Major, Op. 2, No. 6: Allegro - Grave
Concerto Grosso In A Major, Op. 2, No. 6: Allegro
Concerto Grosso in D Major, Op. 3, No. 1: Adagio
Concerto Grosso in D Major, Op. 3, No. 1: Allegro
Concerto Grosso in D Major, Op. 3, No. 1: Adagio
Concerto Grosso in D Major, Op. 3, No. 1: Allegro
Concerto Grosso in G Minor, Op. 3, No. 2: Largo e staccato
Concerto Grosso in G Minor, Op. 3, No. 2: Allegro
Concerto Grosso in G Minor, Op. 3, No. 2: Adagio
Concerto Grosso in G Minor, Op. 3, No. 2: Allegro
Concerto Grosso in E Minor, Op. 3, No. 3: Adagio e staccato
Concerto Grosso in E Minor, Op. 3, No. 3: Allegro
Concerto Grosso in E Minor, Op. 3, No. 3: Adagio
Concerto Grosso in E Minor, Op. 3, No. 3: Allegro
Concerto Grosso in D Minor, Op. 3, No. 4: Largo e staccato
Concerto Grosso in D Minor, Op. 3, No. 4: Allegro
Concerto Grosso in D Minor, Op. 3, No. 4: Largo
Concerto Grosso in D Minor, Op. 3, No. 4: Vivace

Customer Reviews:

Excellent performance of a baroque masterpiece.......2004-07-20

The concerto grosso is best listened to as a regular concerto instead of as a chamber piece like a string quartet. All of these concerto are from opus two and three and belong in everyone's colection (not just baroque fans). I am no expert on classical music and this is the only performance that I have heard. The capella I. give a spirited peformance making each ove the over ten peices highly individual. I liked this disc so much I plan to buy the other two Geminiani discs by Naxos. Like I said I have not heard other perfornces but I can't imagine it could be better done. pPlease excuse typos I have a neurolocal disease

Average customer rating:

A rich introduction to a top Baroque specialist
Great Marketing Idea

Portrait

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Bach: Solo & Double Violin Concertos /Manze * Podger * AAM * Manze
The Grand Tour
Concert for the Prince of Poland
Handel: Complete Violin Sonatas
Biber: Violin Sonatas

ASIN: B00004UFDH
Release Date: 2000-08-15

Tracks:

The Devils Sonata And Other Works:'La Sonata Del Diavolo' In G Minor: III Andante-Largo-Adagio
Complete Violin Sonatas: Op. III, No. 3, 'La Melana'
Concert For The Prince Of Poland: Violin Concerto In E-Flat Major 'La Tempesta Di Mare', Op. VIII, No. 5, RV 253: I. Presto
Concert For The Prince Of Poland: Violin Concerto In E-Flat Major 'La Tempesta Di Mare', Op. VIII, No. 5, RV 253: II. Largo
Concert For The Prince Of Poland: Violin Concerto In E-Flat Major 'La Tempesta Di Mare', Op. VIII, No. 5, RV 253: III. Presto
Sonatas: Sonata Over Toccata V, Op. IV 'Detta La Laura Rilucente'
Concerti Grossi, Op. 6: ' Twelve Grand Concertos In Seven Parts': Concerto VI In G Minor, HWV 3624: III. Musette
Concerti Grossi, Op. 6: ' Twelve Grand Concertos In Seven Parts': Concerto VI In G Minor, HWV 3624: IV. Allegro
Violin Sonatas:Sonate Sixieme In B Minor: III. Gracieusement
Violin Sonatas:Sonate Sixieme In B Minor: IV. Viste
Violin Sonatas: Toccata And Fugue In A Minor: Toccata and Fugue In A Minor For Unaccompanied Violin, Reconstructed By A. M. From The Organ Work BWV 565 In Minor
Sonata In E Major: I. Adagio
Twelve Fantasias For Violin Solo/Gulliver Suite For Two Violins: Intrada
Twelve Fantasias For Violin Solo/Gulliver Suite For Two Violins: Lilliputsche Chaconne
Curiose & Moderne Inventioni: Sinfonia Sesto Tuono
Curiose & Moderne Inventioni: Balletto Quarto Allemano
Curiose & Moderne Inventioni: Sinfonia Terzo Tuono
Sonata In A Major, HWV 361: III. Adagio
Sonata In A Major, HWV 361: IV. Allegro
Concerto XII In D Minor 'Follia': Theme + Variations 1-8
Concerto XII In D Minor 'Follia': Variations 9-14
Concerto XII In D Minor 'Follia': Variations 15-24

Amazon.com

This is a compendium of pieces drawn from Andrew Manze's recordings past, present, and projected. It includes single movements, groups of movements, and complete works, some unaccompanied, some with one or two supporting instruments, some with the ensemble Romanesca, some with the Academy of Ancient Music, of which Manze is co-director and concertmaster. The selections range from intimate chamber music to brilliant bravura pieces and are well designed to whet the listener's appetite to hear the complete records. They also display Manze's versatility, virtuosity, improvisatory imagination, expressiveness, and communicative power, which have propelled him to the top rank of Baroque violinists. He succeeds in combining rigorous scholarship with adventurous spontaneity, passionate involvement and a sense of humor--all of which are also in evidence in his erudite but entertaining program notes.

Naturally, the most substantial pieces on the program tend to be especially impressive. Vivaldi's Concerto "La tempesta di Mare" is truly tempestuous, with extraordinarily daring harmonies and modulations. Manze's transcription and performance of a famous Bach Toccata and Fugue for organ creates the amazing illusion of an original unaccompanied violin composition. And, taken from Manze's recording with the Academy of Ancient Music, "La Follia," one of 12 Corelli Sonatas orchestrated by Geminiani as Concerti Grossi, is enormously exciting. Also noteworthy are selections by Uccellini and Marini performed with Romanesca, some movements from Bach and Handel sonatas, and part of Tartini's "La Sonata del Diavolo", better known as the "Devil's Trill Sonata," played unaccompanied with diabolical freedom and virtuosity. --Edith Eisler

Customer Reviews:

A rich introduction to a top Baroque specialist.......2005-11-15

Andrew Manze is a Cambridge-educated, early-music scholar, an internationally-famous period violinist, an accomplished chamber musician and director of the prestigious Academy of Ancient Music. His discography is vast - specializing in the early to late Baroque and with a strong affinity to the more unusual, 'quirky' Baroque sonatas such as those by Tartini, Schmelzer and Biber - recordings made with fellow Baroque specialists, John Toll and Nigel North (AKA 'Romanesca').

This sampler CD is a nice compilation of Manze's music - from solo violin to full orchestral music - featuring works from more well-known composers (Telemann, Bach, Handel, Vivaldi) to the more obscure Italian violin virtuoso composers (Tartini, Uccellini, Pandolfi, Geminiani, Marini). The selections spotlight his highly rhythmic, academic-rich style and techniques which have won accolades from the international music press like Gramophone, Penguin Guide, ClassicsToday and BBC Music. Highlights are the concerti grossi from Geminiani, Vivaldi and Handel and the sonatas from Handel and Telemann. One truly delightful work is the Handel Violin Sonata in which Manze illicits a most bouyant, spontaneous manner that is most uplifting. Less inspiring to me were the Bach and Pandolfi sonatas as were the somewhat mundane liner notes written by Manze - although they are not without some fascinating tidbits. But so much more could have been said about Manze, his unique style and his career in the notes by a third party to give a more colorful "portrait" of this artist.

If you are new to Manze's music, this CD is a great place to start to explore his broad discography and his compelling style and will help you sort out which composers/recordings you will most gravitate towards - or equally important ... the ones you don't. While varied and compelling, this one CD is only a smittering of Manze's recordings - unfortunately absent are representation works of his powerful readings of the unusual, free-form and often-meditative sonatas of the German-Catholic composers, Biber and Schmelzer (some of Manze's best recordings in my opinion). ClassicsToday gave this CD a perfect 10/10 if that helpf make your decision easier (the sound quality is consistentyly very vivid too). Harmonia Mundi offers this sampler CD at a "teaser" price (about half price) as a way to introduce listeners to great artists - with the hope of course that you will buy a few of the CD's represented here (at full price) that most catch your interest. Either way it is a win for the classical listener exploring the less-familiar Baroque violin repertoire that Manze specializes in dusting off from the shelves and performing most strikingly.

Great Marketing Idea.......2000-08-29

I had heard of Andrew Manze but never heard him play. This CD is a very inexpensive introduction to an incredible Baroque violinist. He opens your ears to a completely different level of performance in this type of music. Highly recommended as an introduction, but be warned that you will soon be purchasing many more of his CDs.

Average customer rating:

Charming, delightful and sure to put a smile on your face

Italian Concerti Grossi

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

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Italian Baroque Favourites
Geminiani: Concerti Grossi Vol. 1
Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12
Albinoni: Oboe Concerti, Vol. 3
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12

ASIN: B0000013ZU
Release Date: 1994-06-28

Tracks:

Sinf in A: Presto
Sinf in A: Andante
Sinf in A: Presto Assai
Son in g, Op.2, No.6: Adagio
Son in g, Op.2, No.6: Allegro
Son in g, Op.2, No.6: Grave
Son in g, Op.2, No.6: Allegro
Con: Allegro
Con: Larghetto E Spiritoso
Con: Allegro
Con Grosso in g, Op. 1, No.12: Largo
Con Grosso in g, Op. 1, No.12: Allemanda: Allegro
Con Grosso in g, Op. 1, No.12: Sarabanda: Vivace
Con Grosso in g, Op. 1, No.12: Presto
Con Grosso in g, Op. 1, No.12: Gavotta: Allegro
Sinf No. 10: Adagio E Spicco
Sinf No. 10: Andante
Sinf No. 10: Non Tanto Largo
Sinf No. 10: Presto
Con Grosso in D, Op.6, No.4: Adagio-Allegro
Con Grosso in D, Op.6, No.4: Adagio
Con Grosso in D, Op.6, No.4: Vivace
Con Grosso in D, Op.6, No.4: Allegro
Con Grosso in c, Op.2, No.2: Adagio
Con Grosso in c, Op.2, No.2: Allegro
Con Grosso in c, Op.2, No.2: Adagio
Con Grosso in c, Op.2, No.2: Allegro
Con Grosso No.3 in F: Allegro
Con Grosso No.3 in F: Largo
Con Grosso No.3 in F: Allegro
Con Grosso No.3 in F: Largo
Con Grosso No.3 in F: Allegro

Customer Reviews:

Charming, delightful and sure to put a smile on your face.......2002-10-10

Naxos specializes in bargain releases of unknown orchestras playing relatively obscure material. Nonesuch did the same thing back in the 60s, and released many fine LPs. This CD, like many other Naxos releases, demonstrates superior musicianship and well-crafted playing. None of these pieces qualify as music for the ages, yet they are so beautifully played, with such verve and authority, that it is imposible not to be delighted.

Tracks:

I Grave/Allegro/Adagio
II Allegro
III Largo
IV Allegro
I Grave
II Allegro
III Vivace
IV Adagio
V Vivace
I Adagio
II Allegro
III Adagio
IV Allegro
I Adagio
II Allegro
III Vivace
IV Adagio
V Allegro
I Adagio
II Vivace
III Adagio
IV Allegro
I Adagio
II Allegro
III Adagio
IV Allegro
I Preludio - David Watkin
II Giga - David Watkin
III Adagio - David Watkin
IV Tempo Di Gavotta - David Watkin

Tracks:

I Preludio
II Corrente
III Sarabanda
IV Giga
I Preludio
II Allemanda
III Sarabanda
IV Giga
I Preludio
II Giga
III Adagio
IV Tempo Di Gavotta
I Preludio
II Allemanda
III Sarabanda
IV Gavotta
V Giga
I Preludio
II Allegro
II Adagio
IV Vivace
V Gavotta
Theme & Variations 1-8
Variations 9-14
Variations 15-25
I Andante
II Presto
III Adagio
IV Allegro

Amazon.com

Francesco Geminiani (born 1687 in Lucca, Italy; died 1762 in Dublin), a pupil of Corelli and one of the greatest violinists of his day, wrote a lot of music for his instrument, as well as a treatise on playing it. He made the orchestration of these 12 sonatas in tribute to his teacher, who would certainly have been proud if he had lived to hear them. Going far beyond mere arrangements, they seem to explore and reveal latent or unrealized intentions, adding sonorities and contrapuntal voices, enhancing character and expression. The most striking example is the famous "La Follia," where the usually hidden drama is suddenly released with a tumultuous virtuosity that foreshadows Liszt's orchestral version of Schubert's Wanderer Fantasy. The playing is stunning. Tuned a half-tone down, the strings have a lovely, pure, transparent sound that supports and surrounds the soloist with a warm shimmer; the long notes float, the fast movements are crisp and light, the rhythm and counterpoint are clear. Andrew Manze, who also writes informative, entertaining program notes, plays with spectacular virtuosity, a beautiful tone, and all-out expressive abandon and imagination, letting loose cascades of infinitely varied, inventive ornamentation. The second disc features the easier, more familiar sonatas, loved by all violin students, but transformed here into brilliant concertos. One of them is added to the first disc in Geminiani's ornamented version for violin and cello, while a cello sonata by Geminiani himself closes the program, perhaps a miscalculation, since the music is distinctly inferior to Corelli's. --Edith Eisler

Customer Reviews:

relaxing classical music NOT.......2007-02-23

in london on that cold rainey tuesday night i saw andrew play some of these selections
he brought the house down or i should say the wren church
like a rock star in a way
he was covered in sweat
i love music
all music played with passion
i have fantasies
a young music group
outside the local classical music station
all relaxing all the time
they call the press those young musicians
we are so very passionate declares the young violinist
themes and variations 25
from geminiani's remiz of corelli
and they play their heart out
and maybe the tv station has a music lover
he loves jimmi at woodstock playing the national anthem
the smiths how soon is now
U2 playing sunday bloody sunday sunday live in dublin
its the last story the only in san francisco story
and its played to its fullest
and the young players really show it off
that young vioinest really plays
and that sweat and passion
he even makes a woop
during the most passionate part
impresses the station manager who loves jimmi at woodstock
and morrisey
and U2 in dublin
wow

Wonderfull Baroque.......2007-02-01

As I heartily agree with Dan Grunfeld's review I can be brief. Corelli's opus 5, 12 sonatas for violin, with harpsichord or cello, set the standard for violin composition and playing for 100 years; his pupil and loving disciple, Geminiani, has carefully orchestrated and developed them into 12 concerti grossi, which doubles our pleasure, in no way does it make the original sonatas obsolete. Although I have sone reservations with some of Andrew Manze's recordings of Vivaldi and Bach violin concertos,he does a superb job in this recording. His recording of Handel's Opus 6, Mr Handels's Twelve Grand Concertos, more concerti grossi, is also excellent.

Corelli and his interpreters.......2006-05-10

As the reader may already know, the opus 5 violin sonatas of Corelli were the inspiration for this orchestral interpretation of them by Geminiani. As related by Manze in his album notes, Corelli chose the significant year 1700 to publish opus 5, and according to Manze, this represents a landmark in Italian baroque, for every composer who came after has had to reckon with these sonatas, and somehow find a way to equal (but not surpass) them in invention and creativity. Vivaldi composed his own version of "La Follia" (Sonata XII), arguably better than Corelli's; but many another of Vivaldi's sonatas, magnificent though they are, simply do not have the clarity, spirituality, grace, and lyricism of the Corelli opus 5. Geminiani, a student of Corelli, and arguably one of the greatest baroque violinists of his day, crafted these orchestral versions of the opus 5 as a tribute to his master. Manze rightly observes that these concertos are not simply orchestrations of opus 5, but actually extensions of it; they are variations to some extent, creative expansions and magnificent glosses on the originals. New points of emphasis are added, some phrasings are given a different turn, new counterpoint is introduced at various places in the score to enhance the subtle beauty of the originals. If you love the Italian baroque, you will not want to be without this gem. But as others have observed, don't neglect the original sonatas themselves. Manze has recorded his own inimitable version on Harmonia Mundi, and I strongly recommend it. But there are others as well. Elizabeth Wallfisch on the Hyperion Label has her own recording, slightly more subdued yet also smoother than Manze's. I strongly recommend that you buy as many versions of the opus 5 as you have the budget for (well, at least three!), starting with these orchestrations by Geminiani. They will teach you to love the originals. Look at them as perhaps a point of entrance into what many consider the greatest violin sonatas ever written.

go for the real thing.......2003-01-13

geminiani wrote some fine concerti in his career, but buyers should be aware that these 12 concerti grossi are actually geminiani's transcriptions for chamber orchestra of the 12 sonatas for violin and continuo, op.5, by his teacher, the roman composer archangelo corelli. (this explains the inclusion of two of the original corelli sonatas on the disc.) i am a great fan of both corelli and geminiani, and their mellifluous, elegant and sophisticated style of baroque music sounds great in any format ... but you may enjoy these sonatas more performed in their original versions.

Manze stretches period performance - but not enough.......2002-08-24

I am a dissident about "authentic instrument performance". I respect the commitment and skills of many of the practioners of this style of play. But I suggest that playing to audiences that have been dead for 250 years is an intellectual, not a musical idea.

Why turn our back on the glorious string tone evolved since 1700? Refitting instruments and using gut strings reduces a fine violin's projection capacity to that of a $500 student violin. This is progress? throughout history composers sought to maximize the impact of their music on audiences. They quickly adapted instrumental improvements as they became available. Did Beethoven frequently break hammers of his "Hammerklavier" because he was satisfied with the volume he was producing? Then why on earth abandon a resonant, responsive Steinway grand and play Beethoven sonatas on a pitiful fortepiano? It makes no esthetic sense. It is an insult to relegate a Vivaldi who electrified his audiences with bold new effects and dramatic flights of inspiration to the "ancient music" ghetto.

Tracks:

Sonata In D Minor, Op. 5 No. 12
Les Follies d'Espagne
Primo e Secondo Libro di Toccate: Folia From Toccata No. 7 (Primo tono)
Trio Sonata In D Minor (Variations On 'La Folia'), RV63 (Op. 1 No. 12)
12 Variationen uber die Folie d'Espagne, Wq118,9,H263
Concerto Grosso 'La Folia' (After Corelli)

Customer Reviews:

A unique but limited compilation.......2005-07-11

I was drawn to this album for its unique compilation of "La folia" (pronounced "la foh-LEE-ah," literally meaning mad or empty-headed) -- arguably "the most lasting and famous tune in Western music" and "one of the most remarkable phenomena in the history of music," according to a breathtakingly comprehensive Web shrine, "La folia, a musical cathedral," which explores the hidden world of this famous 16th-century theme and endeavors to list all derivations and interpretations of it. The motif, with its characteristic harmonic pattern, has fascinated composers to the present day (many samples, including many by modern composers are available on that Web site).

Truly, as a theme and variations, this CD may seem repetitive and boring to some. That would be a matter of personal taste. However, I am rather fascinated with it, even more so as I have learned of its history. Among the most famous and influential variations (and my favorites) are those of Arcangelo Corelli (Track No. 1) and Antonio Vivaldi (Track No. 4). I also enjoy the Geminiani. (...)
For a bit of concise background, I excerpt and adapt a few paragraphs from "La folia, a musical cathedral." Its roots (linguistically, metaphorically, musically) of madness, dance, folly, fertility, and pleasure have captured the imagination of many. The taste offered by "La Folia, Variations on a Theme" is perhaps not yet the definitive collection, but for those entranced by La folia, it whets the appetite for more:

"'Folía' (modern spelling; the old spelling lacked the accent, as was the norm in Spain during the sixteenth and seventeenth centuries) is of Iberian origin and refers to a fertility dance in three-four time originating in the late 15th century. In music Folia meant, at least till the 1670s, a very quick-paced and tumultuous dance, in which the dancers carried men dressed as women upon their shoulders. They were literally driven mad by the noise and the stirring rhythm. The 'early' Folia is sometimes called Folías españolas while the 'later' Folia might be indicated as Folías italianas. Derived from the Tuscan term 'Folle' (meaning empty-headed) the title Follia (with double LL) is used by many Italian composers. . . . The English word Folly has roughly the same meaning as the Tuscan term. In France the structure and its variations became known as Folies d'Espagne, with reference to its presumed origin. . . .

"What is so special about this tune?

"(1) The instant appeal of the music might be explained in the human's pursuit for balance. Speaking from a musicological point of view we are dealing with almost perfect symmetry and intricate harmonic layering.

"(2) By far the most important reason is that it is very pleasant music to listen to. There is somehow an instant appeal for listeners and composers alike. It even sounds familiar when you have never heard the piece before. . . . Being captivated by the tune is of course a matter of personal taste, for there remain plenty of people who get bored by hearing only a couple of variations.

"(3) From 1672 up to now the theme has not lost its power. . . . Composers are always looking for something that will give a piece instant flavour and character. La Folia variations provide lots of freedom too because there are no fixed numbers of variations to complete nor has there to be any structure between the variations.

"(4) Finally there is the interesting social phenomenon that the music had its roots in popular culture and developed into a stately court dance; from a fertility dance for the people into a courtly flirtation."

Very Redundant.......2005-06-05

I bought this album for one piece, that being track number four. After I listened through the entire thing I found that I only liked tracks four and five, and after listening to those a two more times, I became very annoyed.
For those of you who don't know, La Folia is just a piece with the same repeating pattern. These patterns go on for one hour with this CD and become boring and annoying.
Tracks number four and five are really the only decent tracks on this album.
Don't become dissapointed with this CD like I did.

Corelli's best work........2000-09-01

This is a spectacular performance of one of Corelli's best work La Folia. I highly recomend this CD to people who like boroque music.

Geminiani: Concerti Grossi Op. 3 Nos. 5 & 6, Op. 7 Nos. 1-6

Average customer rating:

Continuation from volume one

Geminiani: Concerti Grossi Op. 3 Nos. 5 & 6, Op. 7 Nos. 1-6

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Geminiani: Concerti Grossi Vol. 1
Locatelli: Concerti Grossi, Op. 1, Nos. 1-6
Locatelli: Concerti Grossi, Op. 1, Nos. 7-12
Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12
Muffat: Concerti Grossi, Nos. 1-6

ASIN: B00000G4OR
Release Date: 1998-01-01

Tracks:

Concerto Gross In B Major, Op.3, No.5: Adagio
Concerto Gross In B Major, Op.3, No.5: Allegro
Concerto Gross In B Major, Op.3, No.5: Adagio
Concerto Gross In B Major, Op.3, No.5: Allegro
Concerto Grosso in E minor, Op. 3, No. 6: Adagio
Concerto Grosso in E minor, Op. 3, No. 6: Allegro
Concerto Grosso in E minor, Op. 3, No. 6: Adagio
Concerto Grosso in E minor, Op. 3, No. 6: Allegro
Concerto Grosso in D major, Op. 7, No. 1: Andante
Concerto Grosso in D major, Op. 7, No. 1: L'arte della fuga, a 4parte reale
Concerto Grosso in D major, Op. 7, No. 1: Andantino - Adagio
Concerto Grosso in D major, Op. 7, No. 1: Allegro moderato
Concerto Grosso in D minor, Op. 7, No. 2: Grave
Concerto Grosso in D minor, Op. 7, No. 2: Allegro assai
Concerto Grosso in D minor, Op. 7, No. 2: Andante
Concerto Grosso in D minor, Op. 7, No. 2: Allegro
Concerto Grosso in C major, Op. 7, No. 3: Presto -- Tempo giusto
Concerto Grosso in C major, Op. 7, No. 3: Andante
Concerto Grosso in C major, Op. 7, No. 3: Allegro assai
Concerto Grosso in D minor, Op. 7, No. 4: Andante
Concerto Grosso in D minor, Op. 7, No. 4: Allegro -- Adagio
Concerto Grosso in D minor, Op. 7, No. 4: Allegro -- Adagio -- Allegro
Concerto Grosso in C minor, Op. 7, No. 5: Andante
Concerto Grosso in C minor, Op. 7, No. 5: Allegro -- Grave
Concerto Grosso in C minor, Op. 7, No. 5: Allegro
Concerto Grosso in B major, Op. 7, No. 6: Allegro moderato -- Andante -- Grave
Concerto Grosso in B major, Op. 7, No. 6: Presto -- Adagio
Concerto Grosso in B major, Op. 7, No. 6: Allegro moderato
Concerto Grosso in B major, Op. 7, No. 6: Andante -- Allegro assai -- Adagio
Concerto Grosso in B major, Op. 7, No. 6: Presto

Customer Reviews:

Continuation from volume one.......2004-07-20

This is the completion of opus 3 and beginning of opus 7. See my review od naxos's volume one The same performers.

Boccherini, Geminiani, Legrenzi, Locatelli, Tartini (Box Set)

Average customer rating:

A Fabulous Feast fron Fabio
great value on five of biondi's excellent recordings!

Boccherini, Geminiani, Legrenzi, Locatelli, Tartini (Box Set)

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music
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Vivaldi - Il cimento dell'armonia e dell'inventione / Europa Galante, Biondi
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Vivaldi: Il Giardino Armonico; Les Concertos de Chambre

ASIN: B0000CNTJ8
Release Date: 2003-11-18

Customer Reviews:

A Fabulous Feast fron Fabio.......2007-03-27

This is a reissue of 5 of the many recordings made by Fabio Biondi for Opus 111 in the 1990s, they are still in their original packaging in a cardboard slip cover but at a bargain basement price. As Europa Galante directed by Fabio Biondi are, in my opinion, the best interpreters of the Italian Baroque we can take it as read that the performances on all 5 discs are first rate, and the sound quality on all 5 discs is excellent, too. Writing a full review of all 5 discs is too large a task, as is reading 5 reviews in one go, so I will try to briefly inform the reader about the music on each of the CDs, roughly in the order of dates of composition.
The first CD is titled " Invenzioni Stravaganze", which really does not need translation, covers the period of Italian music in the early-mid 17th century, up to the time of Corelli. This is the period in which the violin, which started as a new instrument, became the most important. Compositions from eight composers are offered, the earliest work from 1613 and the latest 1674. While most of the names were vaguely familiar, I knew little about them or their works before I acquired these CDs. I particularly enjoyed the compositions of Uccelli, Mazzerferetta and Falconio, For these recordings Europa Galante uses 2 violins, viola, cello, theorbo and harpsichord; I also liked the way the theorbo was used as a constant but discrete companion of the harpsichord.
I enjoyed this CD, which I probably would not have bought if it had not been in this discount reissue, and warmly recommend it to anyone interested in the baroque who would like to hear what it sounded like before Corelli.

The second CD is devoted to the works of Francesco Geminiani, 1687-1762, a pupil and disciple of Corelli, who went to London in 1714 where he could make a comfortable living as a free lance composer and violinist. The program opens with the last concerto of his opus 1, which is a transcription of Corelli's opus 5 violin sonatas, the very well known variations on the old tune " La Follia", madness. The remainder of the program is the six concerti grossi of his opus 3, published in 1732. The concertino is 2 violins, viola and cello, accompanied by/opposed by 3 first and 3 second violins, viola, cello, bass, harpsichord and/or chamber organ. These are tuneful and cheerful, and beautifully played, in fact the six excellent concerti, particularly no 1, are to me, highlights of the baroque.

The third CD contains some of the works of Petro Antonio Locatelli, 1685-1768. In his early years he was chiefly known as a great violinist, in his later years, after he moved to Amsterdam, he concentrated on composition. The works on this CD are four of the twelve concerti grossi of his opus 1, published in 1721 but written some years earlier, a sinfonia 'for the funeral of his lady which took place in Rome', and a concerto from opus 7, 'Ariadne's Lament'. The forces used to play this music are the same as those for Geminiani above. I find the choice of the funeral and the lament rather puzzling; they are little known and seldom recorded. There is a lot of Locatelli from which to choose, and I would have preferred a concerto from his famous opus 3, 'L'Arte del Violino'.

Giuseppe Tartini, 1692-1770, is the composer on our next disc, he was known as a virtuoso performer, a great techer and as a prolific composer for the violin, with 135 violin concertos and about 200 violin sonatas to his name. Like Geminiani and Locatelli he was a great admirer of Corelli, although he quickly adopted the Vivaldi three movement model. In my opinion his early works sound more Vivaldian than Corellian, but as he matured he found a voice that was very much his own. On this CD we have 5 sonatas for violin and basso continuo, here cello, harpsicord and theorbo, two from opus 1, there is doubt as to when they were written, possibly 1728, one from opus 2, published in 1743, but probably written much earlier, and two named sonatas, probably later works. The late works, concertos and sonatas, belong in the very late Baroque; they could be referred as Classical. These sonatas are very well played by Fabio and friends.

The last of the 5 CDs takes us well into the Classical period with the cello quintets of Luigi Boccherini, 1743-1805. The cello quintet (2 violins, viola and 2 cellos) was Boccherini's creation, and he wrote 113 of them when employed in the court at Madrid, and beautiful music it is, stately, melodic and quietly joyful. Europa Galante, now a cello quintet, plays them very well too, but somehow not quite as well as more recent recordings, e.g. those of the Vanbrugh quartet with the extra cello played by Richard Lester. I noticed that Biondi was a very young man when this was recorded, 1992, busy establishing himself as a master of the Italian Baroque, and that his later recording of Boccherini cello quintets has been highly praised.

In summary this bargain re-release of Fabio Biondi's earlier recordings on Opus 111 is wonderful value for money and well worth 5 stars. It would be great to see more of these early CDs re-released, as they are now hard to come by

great value on five of biondi's excellent recordings!.......2005-02-11

This box includes five individual discs. Four of the five discs are devoted to individual composers: Boccherini's quintets, Geminani's concerti grossi op.3, Locatelli's concerti grossi op.1, and Tartini's violin sonata's. The fifth disc is of mixed Italian composers. Excellent recordings and performances. The individual discs list for $17.95 each, so this box is an excellent value too!

Italian Violin Sonatas; Fabio Biondi/Europa Galante

Average customer rating:

All roads lead back to Rome - and Corelli

Italian Violin Sonatas; Fabio Biondi/Europa Galante
Francesco Maria Veracini , Pietro Locatelli , Michele Mascitti , Francesco Geminiani , Giuseppe Tartini , and Europa Galante
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Mozart: Violin Concertos Nos. 1-3

ASIN: B00008XRSR
Release Date: 2003-07-08

Tracks:

I. Overtura (Largo)-Allegro-Adagio
II. Aria (Affettuoso)
III. Paesana (Allegro)
IV. Minuet (Allegro)
V. Gia Del Postiglione (Allegro)
I. Adagio
II. Allegro
III. Andante
IV. Allegro
I. Grand Air (Vivace)
II. Les Vents (Allegro)
III. Festes Galantes [Sarabanda] (Largo)
IV. Badinage (Allegro)
V. Du Sommeil (Largo E Piano)
VI. L'amour En Courroux Au Desespoir (Allegro E Staccato)
VII. Calme Amoureux (Largo)
VII. La Noce Allemande [Allemanda]
IX. Suite De La Noce [Forlana] (Allegro)
X. Derniere Suite De La Noce (Allegro)
I. Andante
II. Presto
III. Allegro Affettuoso
I. Largo
II. Allegro
III. Allegro Assai

Amazon.com

One tends to associate the virtuoso violin repertoire with the 19th century, but in their own way these five sonatas, written between 1714 and 1743, offer an equally dazzling display of speed, facility, bow control and tonal variety. No wonder: the composers were among the foremost violin virtuosos of their time, as well as tireless innovators of technique and style; several even wrote treatises on violin playing. The earliest, and least familiar, is Michele Mascitti, a Neapolitan who moved to Paris when he was 30. His "Psyché," the program's only piece in a major key, is a divertissement in ten short "tableaux" on the theme of Cupid and Psyche, with the violin and continuo as the two protagonists. Refined and elegant, varied in texture, expression and character, it ranges from tender love songs to slow and fast dances, including a wild Badinage. Veracini's Sonata Op. 1 No. 1, a dance suite with an unusually active cello part, opens with a slow Overture and ends with a Giga del Postiglione, in which the violin imitates a posthorn's call. The other three sonatas are basically dramatic and melancholy, highly ornamented, full of double stops, running passages and cadenzas. Locatelli's is distinguished by a very elaborate keyboard part and a lot of spiky syncopation in the finale. Geminiani makes the violin sound quite luscious, almost romantic; his rhythms and phrases are startlingly irregular. He shares the exploration of the high register with Tartini, whose Sonata displays his incomparable melodic gift and trademark obsession with trills. The performances are beyond praise. Biondi, one of the deservedly most renowned baroque violinists, plays with enormous brilliance, expressiveness, and endlessly varied articulation and nuance; there is a sense of spontaneous exhilaration in his inventive, improvisatory ornamentation: he seems to be playing with the music and the violin. His partners, some manning several instruments, match him in every way. --Edith Eisler

Customer Reviews:

All roads lead back to Rome - and Corelli.......2005-11-27

The liner notes give a colorful history of the five "minor composers" of the Italian violin virtuoso era featured on this CD - revealing a fascinating commonality (beyond the fact that all their names end in the letter "i"). And this was that they all seeem to have been guided, metaphorically at least, to Rome and Arcangelo Corelli. All studied his methods, modelled his style and payed homage to his legend in their compositions seen here on this sampler of a few not-so-famous Italian violin sonatas. Like Corelli, many of these composers wrote brilliant concerto grossi in the spirit of the master. But the less exaulted sonatas here are no less musically interesting - especially when played by one of the masters of the Italian Baroque, Fabio Biondi.

The lead Amazon reviewer above summarized this CD well, so no need to repeat much, other than to say that the collection of violin sonatas here are wonderfully played with the typical verve, artistry, expressivity and sensuous tone that has earned Biondi an enthusiastic following worldwide. If you like Biondi in Vivaldi, Bach or other his other Baroque music, this CD will surely not disappoint. It spotlights his lyrical talents in a more intimate way via the simpler violin sonata genre. The sound quality on Veritas/Virgin is pleasantly forward, most vivid and is very good overall (but not quite perfect). As with most of the Virgin recordings I have of the Europa Galante as compared to others, there seems to be a depth of "sound stage" somewhat lacking (to me at least), but really nothing to discourage aquiring and enjoying this CD or the others. Five stars for a most enthalling performance of these lesser-known works from Biondi and the Galante.

Average customer rating:

This is the best compilation of baroque music ever assembled

Italian Baroque Favourites

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

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4-for-3 Classical | 4-for-3 Music | Stores | Music

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ASIN: B00000148U
Release Date: 1996-09-17

Tracks:

Presto
Andante
Presto Assai
Adagio E Staccato
Allegro
Adagio
Allegro
Largo
Allegro
Largo
Allegro
Grave - Vivace
Largo
Vivace
Preludio: Andante Largo
Allemanda: Allegro
Adagio
Andante - Largo
Sarabanda: Largo
Giga: Vivace
Adagio
Allegro
Andante
Allegro
Adagio E Spicco
Andante
Non Tanto Largo
Presto
Adagio
Allegro
Grave
Allegro
Allegro
Largo
Allemanda: Allegro
Sarabanda: Largo
Allegro

Customer Reviews:

This is the best compilation of baroque music ever assembled.......2004-04-27

When I first got this CD I didn't know very much about Italian baroque music. However, after listening to this CD, I discovered composers that I had not heard of before, that as it turns out are as talented as Vivaldi. For example, the Sinfonia by Sammartini is just spectacular. The music by Geminiani is fantastic, as is the music by Locatelli and Manfredini. Also, I have listened to a lot of music by Albinoni, but none so great as his Opus 2, Number 6 which can be found on this CD. Also, I found that the speed of Albinoni's Opus 2, Number 6 on this CD was perfect (as compared to other versions of this I have heard, which in my opinion are played slightly too slowly). I have mentioned a few of my personal favorites, however, the entire CD is great. Often the Naxos label puts out excellent baroque music very cheaply, and it is often music that is difficult to find elsewhere. Quite seriously, if you are a fan of great baroque music then this is a CD that you should not be without.

Average customer rating:

Baroque Music Sampler

Manufacturer: Novalis
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

Con in d, F.IV No.1: Allegro Non Molto - Camerata Bern
Con in d, F.IV No.1: Largo - Camerata Bern
Con in d, F.IV No.1: Allegro - Camerata Bern
'Weinen, Klagen, Sagen, Zagen': Sin BWV12 - Thomas Indermuhle
Les Petites Cremieres De Bagnolet (Gigue) - Kenneth Gilbert
Con A Due Cori HWV334: Ov - ECO/Sir Charles Mackerras
Con A Due Cori HWV334: Allegro - ECO/Sir Charles Mackerras
Con A Due Cori HWV334: Allegro Ma Non Troppo - ECO/Sir Charles Mackerras
Con A Due Cori HWV334: Adagio - ECO/Sir Charles Mackerras
Con A Due Cori HWV334: Andante Larghetto - ECO/Sir Charles Mackerras
Con A Due Cori HWV334: Allegro - ECO/Sir Charles Mackerras
Con Grosso, Op.3 No.3: Grave - Camerata Bern
Con Grosso, Op.3 No.3: Allegro Moderato - Camerata Bern
Con Grosso, Op.3 No.3: Andante - Camerata Bern
Con Grosso, Op.3 No.3: Allegro - Camerata Bern
Praludium & Fuge in c BWV549: Praludium - Ton Koopman
Praludium & Fuge in c BWV549: Fuge - Ton Koopman
Vn Con in d: Allegro Assai - Thomas Furi/Camerata Bern
Vn Con in d: Grave - Thomas Furi/Camerata Bern
Vn Con in d: Presto - Thomas Furi/Camerata Bern
Fl Con in G: Largo - ECO/Simon Preston
Fl Con in G: 'Fantasmi' Presto-Largo-Presto - ECO/Simon Preston
Fl Con in G: Largo 'Il Sonno' - ECO/Simon Preston
Fl Con in G: Allegro - ECO/Simon Preston

Music Composers:

Music Composers

Music Composers