- 1 I. Grave
- 2 II. Allegro
- 3 III. Adagio assai
- 4 IV. Largo assai
- 5 V. Vivace
- 6 I. Largo - Allegro
- 7 II. Largo
- 8 III. Allegro - Largo - Allegro
- 9 IV. Allegro
- 10 I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo - Andante
- 11 II. Allegro
- 12 III. Grave - Andante largo
- 13 IV. Allegro
- 14 I. Largo
- 15 II. Allegro - Adagio
- 16 III. Grave
- 17 IV. Vivace
- 18 V. Allegro
- 19 I. Adagio - Allegro
- 20 II. Adagio
- 21 III. Vivace
- 22 IV. Allegro
- 23 I. Adagio - Allegro
- 24 II. Adagio
- 25 III. Allegro - Adagio
- 26 IV. Largo - Allegro
- 27 I. Vivace - Allegro - Adagio - Vivace - Allegro
- 28 II. Andante - Largo
- 29 III. Allegro
- 30 IV. Vivace
About
The Concertos Op. 6 by Corelli were his last published
work (in 1714), which doesn't necessarily mean that these twelve
concertos were all written in the composer's later period – at the
time, collections would sometimes be made bringing together works
from very varied periods in an artist's life. Here are six of the
dozen, kicking off with the Sinfonia pour Santa Beatrice
d'Este; the selection is moves towards "church" concertos,
slow-fast-slow-fast, which differ from the "chamber" concertos,
whose format tends to follow that of dance suites. Op. 6
contains eight “chamber” (including the famous Christmas
Concerto, not included here) and four “church”.
This recording was made by the Freiburger Barockorchester, under
Gottfried von der Goltz, and it differs quite radically from many
previous recordings in one key sense: yes, the published score only
includes strings, but we know that in Corelli's day it was standard
practice to fill out orchestras with various wind instruments and
continuos. The lists of players, and even the payrolls, which have
survived to this day from the start of the 18th century show that
oboes, bassoons, and even horns were added, and that's precisely
what has happened here. The result is definitely a richer ensemble
sound; and at the same time it's clear that the concertino
(the three soloists) is still just two violins and a cello. It's
the orchestra that's symphonising. This is sure to unsettle those
who are used to more traditional recordings, even in the world of
baroque. © SM/Qobuz
Hi-Res 24-bit – 96.00 kHz
Details of original recording:
Recording : Ensemblehaus Freiburg (Germany), 21,24-25 November, 2017To discover
On the same theme
Label
Aparté

In 1989, Nicolas Bartholomew created Musica ISDN - which he is now detached from - a company dedicated to the recording and post-production of classical music. The company has since made hundreds of records and became, in the late 90s, one of the most prolific executive producers, serving a large number of phonographic publishers. In 1999, he founded Ambrosia - now owned by Naïve - a label he ran for ten years with enthusiasm by getting involved in the launching young talent. In 2008 he recreated the recording studio 'Little Tribeca', as well as a new label: Aparté.
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