The opus 6, is maintained throughout the remainder of the orchestral composition of Arcangelo Corelli (1653 -1713) during the 40 years of activity in which occupied a prime position in the musical life of Rome, both as a violinist and directing performances of public visibility. As has been documented for over a hundred times that Corelli composed music, we can say that these concerts are 12 unique the result of a strict selection process and intensive reorganization, sharing elements and concepts with the five opus numbers of his other works. Thus, in this whole concert together for the first time composed of movements written at different times or occasions (the regular concert performances of Corelli could have given ongoing opportunities to judge the effect of his compositions on the public). Furthermore, the Rome of the late s. XVII concert did not have the structural complexity and the abnormal number of movements juxtaposed by cadences and tonality, but basically independent of each other. Probably the performer was free to separate movement and choose according to their own opinion and occasion. Therefore you must understand the opus 6 as a model of style and instrumental writing, rather than as a complete artistic monument and unalterable, a reflection of musical practice habits of representation, which should be ephemeral and changing, in line with the tradition oral, it looks expensive to Baroque. Formally
opus 6, published in Amsterdam a year after his death, and entitled "Concerti Grossi with duoi Violini e Violoncello di Concertino duoi obligatio e altri Violini, Viola e Basso di Concerto Grosso ad will, che if radoppiare potranno "(Concerts with optional orchestra whose number can be increased) is based on two pillars: 1, contrast and 2, the variety. The contrasts of tonal colors and textures allowed by the alternation of large and small instrumental groups: the concertmaster , consisting of two violins and cello, while the rough ripieno or add two more violins, viola and basso continuo , including such a harpsichord or organ. While configuring the concertmaster (usually formed by professional musicians employed by the employer) is stable, the roughly (hired professionals or students) could be expanded depending on the occasion and circumstance, depending on practical issues such as the size of the room or the glitz of the ceremony. In other words, the antiphonal division between groups reflects a status (and salary), and not a spatial stereo . As the search for variety within the unit, alternating sections vary considerably in length, the movements are composed of units of velocity contrast and apparent disruption, creating an impression of spontaneity, even improvisational.
masterpiece by the wise use of timbral colors, Corelli reached its creative peak in the Concerto grosso No. 8 in G minor, "Fatto per la notte di Natale " probably a work composed in 1690 for Cardinal Ottoboni and enforced in the Vatican palaces. Has six movements in rapid succession: 1
Vivace-Grave. The opening of the play is composed in a practical way to attract the attention of the audience. Dominated by the rhythm of the French overture, the fleeting Vivace, only 6 bars, the chords abruptly cutting in dramatic style leading to a passage in a solemn Grave escaped style, where the continuing overlap of the frequent subject entries creates harrowing evolving harmonic shocks, suspensions and syncopated rhythms. Both as concertmaster grosso are integrated into a single long thick fabric tied notes, drawing a sentence that finally rolling cadence in G major. Allegro
2 and stepped into intricate imitations, with some contrapuntal combines the popular vein, again harmonic suspensions syncopated rhythms and music push hard. The relatively simple lines of first and second violin playing in alternate pulses, while the rough stress takes the role of the cadences (and sometimes absent). This varies the textures and highlights the separation en dos orquestas iguales con sus propios solistas.
3 Adagio-Allegro-Adagio : las dos partes lentas son casi una plegaria de doliente recogimiento y están centradas sobre la belleza melódica que recorre toda la familia de las cuerdas; el ostinato en la líneas superiores crea un espléndido efecto armónico contra las ágiles líneas de los bajos, culminando toda la obra con sencillas escalas descendentes en los violines. En el enclaustrado episodio central los violines fluyen oscilantes en un torrente de semicorcheas.
4 El espíritu del minueto anima este breve vivace que regresa a la tonalidad de sol menor, en un juego retórico de preguntas y respuestas, with original working each shift.
5 In this Allegro , always in G minor, is the only occurrence of the virtuoso character in a brief passage only by the concertmaster, concludes with a brief passage in way scherzo. And without interruption, with a minor chord, to get the surprise effect of a single final section, 6 the length (pastoral) passes key atmosphere that is changing sound and drawing a print equivalent of a mist rising suddenly in Marc Pincherle words. It originated in Sicily rate 12 / 8 low hum which evokes the popular bagpipe, progresses sequentially, and announced and future "sonata form" to the extent that the second part the subject is re-exposed in the tonic after a species of plant development, and ends by fading into silence.
The Italian string ensemble I Musici, formed in Rome in 1952, members whose renewal has never shifted his tone warm and emphatic, in the sixties had its golden age, away from the romantic prism elongated tempi, long phrases, and effective orchestral Pharaonic. Of his three recordings for Philips will choose the 1962 for his full conviction and because it can be interesting hearing to assess the evolution in the interpretation of this work, the opening of the sound archives of AHRC Research Centre for the History and Analisys of Recorded Music (CHARM) has added new sources of information about which more below, despite the general path thick, shaggy low, low transparency, little incisive accents, the terse rhythmic emphasis. Contrasts may be more occurrences of the ritornello and the differentiation of the role of basso continuo, and among the soloists and the ripieno , as addiction causes surprisingly little difference in volume. severity in tempi, dynamic progressions coarse, discrete and continuous acid in the violins sound. No attempts at ornamentation, but this is not a defect. In conclusion, a mole Corelli excessive current aesthetics of leaden and dull vibrato attack. Recording and confusing forest.
the early seventies Herbert von Karajan established a curious amusement for its philharmonic Berlin: every summer, he and a selection of his orchestra is relaxed away from the city, in the Alpine resort of St. Moritz, where they spent the morning swimming and sunbathing in the afternoon local spas and making records in a tiny church hidden among the pines. Jumping from his Italian sports, von Karajan was going to guard strictly personal and everything related to the meeting stipulated for that evening: instrument and microphone placement, testing of short passages, balance fine adjustment in the control of sound recording perfect unanimity of music and ultimate supervision of the shots. The result, balanced, elaboradísimo, but as to a preset scheme, recreates a numbing uniformity that was called "the beautiful sound Karajan, with exclusive attention to the delicacy of the textures, testing measure at a time to highlight a superficial splendor and tasteless. While warm symphonic sound is perfectly suited for slow movement, in the rapids there is some blurring of the attacks and lack freshness and vitality. Berlin ropes course, give us your range of breathing and graceful in phrasing, but there is little differentiation dynamics. Cadences on gracing the work, I can not resist saying that more than ornaments seem onanenti . The continuous lies in two harpsichord that should be late to church without Gott der knew it, because they are completely inaudible except the last chord. The sound glamorous displays the necessary (DG, 1970).
The distinctive and unmistakable sound of The Inglés Concert (Archiv, 1987), British civility , woven with its small number of troops (12 strings theorbo) an interpretation polished, elegant and smooth. The retailer Trevor Pinnock directs from the harpsichord, leaving the ongoing work of the organ in charge of a priceless John Toll which provides the framework for instrumentalists whose list is a litany of the most influential names in the field of historical interpretation in recent decades: Standage Ter Linden, ... Vibrato is very mild and limited ornamentation. Strong contrasts in tempi between fast and slow movements, liveliness of articulation, lean and light textures clear, efficient, balanced with rigor joy. As to date no one had captured well the spirit and the harmonic intensity of the work, this performance marked the path for reading but after today it may sound somewhat academic moderate, significantly cold, lack of Mediterranean flair. The recording is superb, clear and immediate.
Supported in the documentation on payments to the musicians (in 1687 led a contingent Corelli than 150 musicians in the palace of the Queen of Sweden Roman exile), the Ensemble 415 Chiara co-led by the violins Banchini and Jesper Christensen (DHM, 1991) choose the option grunge and raises a sound wall six cellos, five basses, four chitarrone archilaud and, in addition to the continuous body. Indeed, the score provides information on notation, rhythm and harmony, but not sound and color, density and dynamics. Thus the baroque flexibility fits this radical design with a formidable work of continuous basis on which to build the rest of the building. Although the observations are German composer living in Rome in taste Muffat Corelli accented by contrasting tempi , in general they are more relaxed than those of Pinnock. Ornamentation on the repeats, much freedom in the cadenzas . Attention to detail of the various instruments used for special effects in imitation of bagpipes and hurdy-gurdy. Recording atmospheric, near-print live concert, which perfectly reflects the dense textures and sharp contrasts in loudness solo-tutti .
Pyrotechnics
reading of the small and strong contingent of Europa Galante (Opus 111, 1996 .) Role for the rapid Biondi violin, heavily ornamented in repetitions, with accentuated articulation and dynamics (which relate it to future concerts for violin), a precise virtuosity maintaining quality cantabile. Extreme boldness in the choice of tempi (and therefore rubato), sudden contrasts, ritardandi and pauses, staccato chords very aggressive blend perfectly with transparent textures achieved with the subtle support of the bow across the strings, sensible and friendly attack. The blooming sense of rhythm accentuates the theatrical element. The continuum is the most common: imaginative body in slow motion (which gives an ecclesial character) going to key in the rapids (da mundane character, with its continuous cascading arpeggiated notes.) The recording combines detail and spatiality. Posdatum: The Gramophone critical find it lacking in drama, to extol then Pinnock (!) Definitely have to change my speakers, does anyone have some ESL-63 in good condition?
Federico Maria Sardelli
front Antiquo Mode (Tactus, 1997) recreates the first interpretation modern times the addition of a ripieno formed by trumpets, oboes and flutes. Studying the list of payments to the musicians by Corelli under the patronage of Ottoboni testifies practice of doubling the shares allocated to the ropes with so many particellas for this type of wind instruments. Thus, a new image of Corelli stands before us, put the wig and starts to make music full of invention: Buy a new light, a new range of colors, multiplication speculate on several levels: spatial, timbral and contrapuntal . The musical lines are designed and cut in a magnificent building of false perspective, and acoustic illusions or parallel in the visual arts of the Baroque "trompe l'oeil ." The sense of rhythm, grace and freshness is achieved by introducing ornaments, trills and appoggiatura in places where the score calls for them (usually at low cadences.) The contribution of the wind is always very subtle in the case of the Pastoral conclusive, a few sentences devoted to the violin have been given to flutes and oboes. The general tone is soft, ceremonial, sweet timbre (what contributes to the ongoing theorbo), the moderate dynamic, elegant, courtly. Tempi light them. Another difference from other interpretations shown in the third movement, where the articulation of the bass strings is so staccato (without tying the notes as required by the various scores to which I had access), so what is lost is gained moving online in rhythmic overwhelming. Making sound surprisingly spacious, clear, wide dynamic and tonal fidelity.
Although designed to be interpreted as acts lay in ceremonial use was common religious Two or three concerti were played in the course of a trade. This means the comment of Erasmus: "People run the church as if it were a theater in search of sensual charm ear," and no wonder with performances like Estevan Velardi and Alessandro Stradella Consort (Dynamic, 1999). At various times in pizzicato notes appear (the winter so Vivaldi), raising magic moments, this contrasts with the extreme delicacy of the joint wrath of the cellos in the allegro . Mild and progressive continuing ornaments scattered by the organ and theorbo (in the minuet happens to key to the seasonings together in the violas, give the appropriate character dance). Tempi agile, appropriate sense of rhythm, dynamics revelry. Great virtuosity in stabbing attacks and the implementation of the double notes, bagpipes and hurdy-gurdy to recreate the pastoral. Record high instrumental separation and presence.
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