As the hub of a fledgling British Empire, London around 1710 was burgeoning with new wealth and offered the perfect setting for operatic entrepreneurs eager to spread the latest Italian fashions. It was thus a city of opportunity for Handel, fresh from spending five years in Italy, but also for many other touring musicians including Arcangelo Corelli, Francesco Maria Veracini and Francesco Geminiani. This recording unveils a portrait of the chameleon Handel, emerging in the panache of his early Italian-styled Amadigi, reaching maturity in the 'English operatic' Hercules and arriving finally in the perennial melodic grace of Theodora, his penultimate oratorio. Extracts from these works, in which the young Norwegian mezzo-soprano Tuva Semmingsen displays both vocal agility and a wide-ranging emotional palette, are interspersed with instrumental works by Handel's Italian contemporaries. Corelli's Concerto grosso in D major, from the celebrated Opus 6, and Geminiani's 'La Follia' in D minor - incidentally a reworking of Corelli's famous violin sonata - both illustrate Italian instrumental music at its most sumptuous, in colourful and dynamic performances by the Norwegian period band Barokksolistene. For further variety, the leader and artistic director of the ensemble, Bjarte Eike, also performs a chamber work by Veracini, who visited London regularly during some three decades in the early 18th century. The Sonata in A major was published in England in 1744, and it would be quite tempting to interpret the use in it of a Scottish tune, Tweed's side, as merely a clever marketing device to charm a local audience, were it not that the tune, and the composition itself, was so attractive.

In early 18th-century England, the recorder was a popular instrument among music lovers, therefore- since the eminent Italian composer Arcangelo Corelli’s works made an enormous impression in the country- it was only a matter of time before numerous virtuoso recorder arrangements of his string works began to appear.Estro Cromatico leader Marco Scorticati and his longstanding partner Davide Pozzi join forces with Evangelina Mascardi, Sara Campobasso, Michela Gardini, and Pietro Pasquini to deliver a new rendition of this well-loved music, including two premiere recordings. Improvised ornamentation, as well as the multifaceted texture provided by diversified combinations of the continuo instruments, play a central role in the present interpretation, thus bringing Corelli’s extraordinary music back to life; as Roger North wrote in 1710 “if music can be immortal, Corelli’s consorts will be so.”

CORELLI: SONATAS OP. 5 NO 7 -

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La Petite Bande recorded its set during the late 1970s and these are performances which do considerable justice to the music. Brisker tempos, lighter bass string playing and an altogether more imaginative approach to continuo realization bring these concertos alive to an extent hardly realised by I Musici. Sigiswald Kuijken, the leader and director of La Petite Bande, includes a theorbo in his continuo group and this is invariably an effective addition... [I]n matters of baroque style, as in its more highly developed spirit of fantasy, La Petite Bande offers satisfying performances.

-- Nicholas Anderson, Gramophone [9/1990]

CORELLI Violin Sonatas, op. 5: No. 7 in d; No. 8 in e; No. 9 in A; No. 10 in F; No. 11 in E; No. 12 in d, “La follia” • François Fernandez (vn); Glen Wilson (hpd) (period instruments) • NAXOS 8.557799 (62:53)


François Fernandez and Glen Wilson’s readings of the last six sonatas of Corelli’s op. 5 make up the second of a two-disc set (the first issued by Naxos as 8.557165). Harpsichordist Glen Wilson has provided the notes, in which he discusses the style of ornamentation, the use of harpsichord alone in realizing the figured bass, and the choice of A=400 (at which pitch Fernandez’s 1690 Andrea Guarneri violin, hardly so viola-like as might be expected, retains a surprising edge—of course, Corelli, like many of his contemporaries, avoided more than occasional use of the G string, supposedly because the bulkier string responded more sluggishly, so the higher tessitura doesn’t focus so intently on the instrument’s lower registers). Corelli’s sonatas influenced not only his contemporaries and immediate followers, but generations to come, and Fernandez and Wilson’s performances should make them equally impressive to modern listeners as well—not because of modern instruments or reliance on astringent timbres, but simply because they make these works breathe with a similar vital force as they must have exhibited in their own time. Even in these sonatas da camera the bass counterpoint should hold the most hidebound polyphonist’s attention, yet the melodies flow liquidly in the slow movements and they leap with sprightly, though controlled, energy in the fast ones. In the Ninth Sonata, Fernandez plays, on repeats, the ornaments provided by Corelli’s student, Geminiani, available in Hawkins’s History of Music (elsewhere, they try to remain true to the spirit of models that Roger claimed Corelli himself provided. Geminiani’s “ornaments,” as Wilson notes, amount almost to recomposition—heavy handed ones, in fact, some might think, in the spirit of Geminiani’s reworkings of Corelli’s solo sonatas as concerti grossi). Throughout, Wilson and Fernandez tease the textures of these works—which could alternatively be played with a noble (deadly?) restraint as inviolable masterpieces—with textural highlights, strong underscoring of the signature sequential passages, and zesty tempos. In Fernandez and Wilson’s performance, the famous “Follia” blends a somewhat melancholy dignity with the noted technical brilliance that made it a model for virtuosic showpieces through the generations. In this joie de vivre the duo seems to be having a thumpingly good time, as did Andrew Manze in so many pieces. Yet, with Corelli’s sonatas, Manze (Harmonia Mundi 907298, 26:5), with period instruments, wove sensitive, seductive fantasies. In 20:3, I reviewed John Holloway’s more abruptly rhetorical set, on period instruments (Novalis 150-128). And I also like Elizabeth Wallfisch’s set with the Locatelli Trio on Hyperion 66391, which Nils Anderson reviewed in 14:4.


Although Fernandez draws a somewhat reedy, acerbic sound from his violin, sound never seems an end in itself, nor does he rely upon it as a means to any other kind of end than a purely musical one. The engineers have balanced the harpsichord and violin almost perfectly; the ambiance remains clear and light. These performances constitute both an irrefutable argument for Corelli’s predominance and an irresistible introduction to his œuvre . In the last analysis, the choice between Manze, Holloway, and Fernandez depends more on the listener’s aesthetic predilections rather than on any superior merit. They are all authoritative in their very different ways. Fernandez belongs in this august company. Urgently recommended.


FANFARE: Robert Maxham

Opus 2 & 4: Chamber Sonatas is the third in The Avison Ensemble’s celebration of Corelli’s chamber music and the fifth album in their critically acclaimed series of recordings with Linn. Released to mark the 300th anniversary of the death of the composer, the ensemble’s greatly anticipated series explores the six opera of the eminent Italian’s chamber music: the concerti grossi, violin sonatas, chamber sonatas and church sonatas. Popular since their publication, Corelli’s two sets of chamber sonatas are a pinnacle of Baroque Italian instrumental music. They demonstrate a superior level of craftsmanship; they are of the highest quality, exquisitely refined and a good example of perfection in music. Corelli’s contribution to the history of violin performance was immense: all six of his published collections of instrumental music demonstrate his exceptional skill as a violinist and composer, but it was in his chamber sonatas that he first used what was to be known as the ‘Corelli clash’.

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REVIEWS:

These performances occupy fresh ground. Beznosiuk and the Avison Ensemble have clearly given much thought and attention to their performances: beautifully understated, and allowing the music to speak for itself.

– Gramophone

The Avison Ensemble captures their essence in graceful, finely controlled performances - by turns lyrical, fleet, playful, imbued with an effortless style that eschews mannerisms and fireworks but rather lets the music speak for itself. The string sound is silky and clean; the ensemble neat and subtly articulated.

– BBC Music Magazine

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.



It's rare to experience the level of artistic rapport heard on this recording from [Petri and Esfahani]… In Petri's capable hands, the recorder becomes a medium through which she conveys a more vocal interpretation of thematic material than ever a violin could… Esfahani crafts the most imaginative and engaging accompaniments and repartee I have ever heard.

– Gramophone Magazine

Petri and Esfahani's is an invigorating ensemble effort, with each sparking off the other.

– BBC Music Magazine

Arcangelo Corelli was "world famous" even in the world of his day. Copies of Corelli's works appeared in St. Petersburg as well as in Constantinople, Stockholm and even in America, where Thomas Jefferson spoke of being charmed completely by Corelli's music.

Despite its popularity only a handful of his original manuscripts exist today and the Violin Sonatas Op. 5 have a place of honor. The pieces on this album were drawn from the second half of Op. 5 and in the original edition of 1700, published as "Parte seconda: Preludii, Allemande, Correnti, Sarabande, Gavotte, e Follia." Baroque sonatas having been inspired by dances, and playable on violin and harpsichord or ona variety of instruments, in this case, recorder and harpsichord.

The easy-held nature of the sonatas allows great freedom for ornamentation and improvisation, which Michala Petri and Mahan Esfahani savor with pleasure.

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Recent research has revealed the existence of a practice which has been hitherto ignored: that of doubling the instrumental music composed and conducted by Corelli with all sorts of wind instruments. This practice forces a re-examination of the faithful reproduction of the compositions as printed, which has prevailed up until now. This is thus the first complete performance of the twelve Concerti Grossi by Corelli which attempts to accurately reconstruct the works' historical-musical context.

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CORELLI: Violin Sonatas Nos. 1-6, Op. 5

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CORELLI 12 Violin Sonatas, op. 5 • Corelli Trio • BRIDGE 9371 (2 CDs: 125:34)

Here is an absolutely dazzling album that I reviewed, more or less, on a whim. Arcangelo Corelli, a fine composer who certainly introduced some innovations (those marvelous and unexpected string slides that take your breath away), wasn’t exactly a Buxtehude or a Bach, yet as this two-CD set amply proves, his music can certainly hold its own in interest and especially in charm with anyone from the Baroque era, even his fellow Italians Scarlatti and Vivaldi.

Of course, as in the case of virtually all music, the aural impact is highly dependent on the performer, and on this recording we have a truly inspired violinist in Elisabeth Zeuthen Schneider. In the booklet she is quoted as saying that Corelli’s sonatas “are an invitation to explore the most sunny and expressive voices of the violin as well as having the fun of the dancing and wild abandon of ‘La Folia’ that closes the whole set of 12 sonatas.” Further on, she makes a distinction between the church sonatas on disc 1, which she feels explore “more profound and spiritual feelings” than the chamber sonatas on disc 2, but even in those first six sonatas Schneider’s playing is sunny, singing, and full of vitality. I think that she just can’t help herself from feeling good while playing this music; I certainly couldn’t help smiling or feeling good all through the sonatas on the first disc. Schneider’s playing has that same rare combination of sweetness, elegance, charm, and sheer sunniness that one heard in the playing of Yehudi Menuhin. Also, different from most historically informed violinists, she is not averse to playing a few notes with a light vibrato, which adds piquancy and charm to her interpretations.

Moving from disc 1 to disc 2, the secular sonatas, one notices very little difference in general layout, tempos, or indeed inflection. I find Schneider’s playing no lighter, more buoyant, or infectious than on CD 1, but then again, there’s no drop-off in quality, either. She’s just plain good.

An interesting observation: All of the church sonatas are in major keys, but half of the secular sonatas are in minor, including, of course, “La Folia.” In the latter, Schneider pulls out all the stops—literally, including double-stops!—and her performance is indeed lively.

Like so many trio sonatas of this era, the accompanying instruments are just that—background to the soloist. As a result, despite the fact that they are well-trained musicians who play well, there’s really not a lot one can say about Viggo Mangor on archlute and theorbo or Ulrik Spang-Hanssen on continuo organ except that they are there, they give good support, and they keep the rhythm light.

In the booklet, it says that Corelli was a quiet man who “never devoted much time to self-promotion” and “didn’t nurse his reputation publicly in his later years.” Apparently, much the same can be said of the Corelli Trio, for although there are bios of all three musicians, there’s not a single word as to how or why they formed or call themselves “Corelli Trio”! But you certainly won’t keep their presence much of a secret once you hear this album.

FANFARE: Lynn René Bayley

Giovanni Battista Columbro and the Orchestra Barocca Di Cremona perform Corelli's 6 Concerti Grossi, Op. VI. The Opus number VI presents itself as the 'quintessenza di una ben altrimenti fluida e ricca prassi orchestrale' ('quintessential fluent and rich orchestral practice). On the wave of the transcriptions of opus VI, in this album the musicians employed wind instruments in addition to the strings. This choice is a filological one seeing that, after years of research it has been proved that in the Corellian orchestras there was a significant presence of wind instruments. In this version, the original tonalities have been maintained (which does not often happen in other transcriptions) and the original parts of the two solo violins have been assigned to two transverse flutes as it happened in the first decades of the XVIII Century.

Having completed the entire trilogy of Handel's Concerti grossi, the Akademie Fur Alte Musik Berlin presents a recording of the first six Concerti grossi, Op. 6 by the composer, ensemble leader and violin virtuoso Arcangelo Corelli, who received the almost cult-like reverence during his lifetime. The composer had been experimenting with this one of the most distinctive forms of instrumental music of the Baroque era since the late 1670s, but it was only towards the end of his life that he sought to publish these compositions and selected only twelve exemplary pieces from what was probably a much larger collection. He laid the foundations of this instrumental form for future composers such as the aforementioned Georg Frederic Handel, who paid tribute to the Italian Baroque master with his two opuses. The Akademie Fur Alte Musik Berlin and it's two concertmasters, Mayumi Hirasaki and Georg Kallweit, who demonstrate their extraordinary virtuosity, only prove why they are regarded as one of the most influential period-instrument ensembles of today. The Akademie Fur Alte Musik Berlin has a substantial PENTATONE discography, including the Diapason d'Or awarded CANTATA with Bejun Mehta (2018), Handel's Concerti grossi Op. 3 and 6 (released in 2019 and 2020), Telemann's Miriways (2020), Handel's Messiah (2020), Haydn's L'isola disabitata (2021), La Passione with Christina Landshamer (2022), a recording of Mozart's Paris and Haffner symphonies and the Oboe Concerto with Xenia Loffler (2023), Telemann's Ino (2024), and a recording with Mozart's symphonies Nos. 29 & 33 and the Clarinet Concerto with Ernst Schlader (2024).

Our debut album tells of creative connections spanning centuries and of the curiosity and passion that keep music relevant and alive today. We move playfully between rarely heard and well-known masterworks of the Baroque, presenting both ensemble and solo works to create a richly textured soundscape. Many of the composers featured on this album were linked through personal or artistic exchange. Telemann, Handel, Corelli, and the mysterious Mrs. Philarmonica were not only connected stylistically, but also crossed paths in the musical centers of Europe such as London, Hamburg, and Rome.

In 1700, Corelli published his 12 violin sonatas, Opus 5, in Rome. A veritable revolution in violin technique, they won the admiration of eminent composers (Bach, Dandrieu, Couperin) and greatly influenced the French (Francoeur, Leclair, Senaillé, Quentin), who were to try their hand at this virtuoso and brilliant Italian style. At the end of the 1730s, the first six sonatas of opus 5 were"adapted to the transverse flute with the bass" by a Parisian publisher. The level of virtuosity they demanded was quite innovative at the time. This display of virtuosity is also to be found in the compositions of Jean-Baptiste Quentin, known as Le Jeune. We have very little biographical information on Quentin himself, but all his work is greatly inspired by Italian music and is heavily influenced by Corelli. Anna Besson has made the world's first recording of his sonatas, with the help of two other eminent performers of the new Baroque generation, Myriam Rignol on viola da gamba and Jean Rondeau on harpsichord…

For her 24th recording for Cedille Records, violinist Rachel Barton Pine joins forces with period instrument specialists David Schrader, John Mark Rozendaal, and Brandon Acker to record Arcangelo Corelli's seminal set of 12 Violin Sonatas, Op. 5. "An exciting, boundary-defying performer" (Washington Post), Pine has been described as "a most accomplished Baroque violinist, fully the equal of the foremost specialists" (Gramophone). Known for her versatility across a vast repertoire - from Renaissance to heavy metal - she has studied period performance practice extensively and performs on the viola d'amore, renaissance violin, and medieval rebec. She has appeared as soloist with Apollo's Fire, the Seattle and Indianapolis Baroque Orchestras, Baroque Band, and Ars Antigua, and has performed concertos with Nicholas McGegan, Jeannette Sorrell, and Frans Bruggen. Published in 1700, Corelli's Twelve Violin Sonatas are foundational in the evolution of both the sonata and concerto forms. This recording explores these compositions through a historically informed approach, utilizing an array of period instruments, each chosen to enhance the expressive nuances of Corelli's music. Reflecting the era's experimental spirit, the ensemble embraces the interpretative freedom suggested by Corelli's original scores. Schrader alternates between organ and harpsichord, Rozendaal between violoncello and viola da gamba, and Acker performs on theorbo, archlute, and baroque guitar. Pine, inspired by the versatility of her colleagues, performs the famous "Follia" variations (Sonata No. 12) on an original-condition Gagliano viola d'amore, exploring this rarely used instrument in an authentic historical context. Corelli: Violin Sonatas, Op. 5, was produced and engineered by the Grammy-winning team of James Ginsburg and Bill Maylone. It was recorded on February 21, 23, and 25, 2024 and April 29-May 2, 2024, at Nichols Concert Hall in Evanston, IL.

The name of the young Czech virtuoso Michaela Koudelkova should be committed well to memory. She has far more going for her than just the names of her teachers (Peter Holtslag, Erik Bosgraaf). She is a winner of the Tel Aviv Recorder Competition and a finalist of the York Early Music International Young Artists Competition in England, and her solo recitals have included an appearance at the prestigious Oude Muziek Festival in Utrecht. Her Supraphon debut, for which she has chosen masterworks by Handel and Corelli, showcases her uncompromising technique, but above all it shows her supreme musical sensitivity and her interpretive stylishness, including the ability to improvise, participating in the recreation of notated works. Of all the sonatas listed on the album, only one is intended for her instrument; the rest were originally for violin or transverse flute. Of course, a characteristic of the baroque era was great freedom in the choice of solo instruments, as is clear from period printed editions, and the recorder was very popular at the time. Besides the most common alto and soprano recorders, the recording also features an instrument with a darker timbre, the voice flute in D, which was popular in England, and the sixth flute, pitched an octave higher and often used for music played between acts of Handel's London operas. Besides sonatas by Handel, the soloist has also chosen three sonatas from Corelli's Opus 5. Over the centuries, the art of improvisation has been taught using the passaggi in the slow movements of the twelve violin sonatas in this iconic collection. The last and most famous sonata, "Follia", is the brilliant and rather experimental climax of the album, combining the creativity of the composer with that of the performers. Lightness, liveliness, spontaneity, bravura, intoxicating richness of sound - Michaela Koudelkova's exciting Handel and Corelli

Serendipia Ensemble, Rita Rógar, and Moisés Maroto, together with their ensemble of musicians—Darío Tamayo on the harpsichord, Calia Álvarez on the viola da gamba, José Arsenio Rueda on the baroque bassoon, and Jon Wasserman exchanging his plucked string instruments (theorbo and baroque guitar)—have recorded the complete sonatas. Premiering worldwide with the record label IBS Classical.

With this large continuo group, Serendipia Ensemble seeks a unique musical approach to the concept of the triosonata, finding the common ground between the concerto form conceived by Corelli and the sonata form arranged by Schickhardt. We are now able to hear, with layering of different instruments, the triosonatas approach the concerti in sections such as the tutti-soli that we appreciate in the Corellian originals.

Born in Rome in 1678 into a family of German origins, Nicola Francesco Haym (1678-1729) was employed as a violone and cello player by Cardinal Pietro Ottoboni in the orchestra led by Arcangelo Corelli. Later he moved to London where he took a leading role in establishing Italian opera which was beginning to flourish, while serving as a continuo cellist in the Drury Lane theatre and the Queen’s Theatre. In 1713, Haym started to work as librettist for Handel and the collaboration continued until 1728. During this period Haym acquired the role of secretary at the Royal Academy of Music. Haym’s sonatas with flute are the first flute sonatas by an Italian composer to be published. The Sonate a Tre (Op.2) and the Sonate da camera a flauto traversa, haubois o violino solo, are strongly influenced by Corelli in the profound knowledge of counterpoint and the wide spectrum of expression of feelings and affects. From his familiarity with Corelli’s music, Haym was able to assimilate the gravity of style and nobility of expression while retaining his own musical personality.

Played by the Cappella Musicale Enrico Stuart, consisting of Chiara Strabioli (transverse flute and recorder), Romeo Ciuffa (recorder and transverse flute), Rebeca Ferri and Marco Vitale (harpsichord). Founded in 1998 the Capella Musicale Enrico Stuart specializes in 17th- and 18th- century repertoire in which wind instruments play a central role. They previously made for Brilliant Classics highly praised recordings of Boismortier and Valentini.

There are moments in music when time seems to pause, and with Arcangelo Corelli's music, I have experienced that enchanted stillness-where each note is not just heard but felt deeply. His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light. Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace. Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini. His music is both spiritual and earthly-a beacon of simplicity and profound beauty. I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. -�Eun-Shik Kim

Classical Music

Corelli: Opere I e III

Corelli: Concerti Grossi, Op. 6, Nos. 1-6

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Corelli: Concerti grossi, Op. 6