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Arcangelo Corelli: Il maestro famosissimo di violino

Total time: 72’27
Year: 2014
Format: CD
Type: Instrumental (early music)
Period: Baroque
Country: Belgium
Instrument: Violin

Price: €20,00
(In Stock)

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REF: CYP1668

Archangelo CORELLI (1653-1713)
Sonata op.5 n°1, in D major
Sonata op.1 n°11, in D minor
Sonata op.1 n°9, in G major
Sonata op.5 n°10, in F major
Sonata op.2 n°6, in G minor
Sonata op.2 n°12, in G major
Follia op.5 n°12, in D minor
François COUPERIN (1668-1773)
Le Parnasse ou l’Apothéose de Corelli


Les Folies Françoises
Marc Schapira narrator


As a violinist admired throughout Europe and father of the sonata and the concerto grosso – two genres that he pushed to the highest degree of perfection –, Arcangelo Corelli enjoyed an unparalleled reputation during his lifetime and throughout the entire 18th century, leaving his mark on generations of musicians and composers. Although his music can seem less typically ‘baroque’ to our ears than that of his predecessors, with their penchant for surprises and expressive extravagance, its relative sobriety and the further refinement of violin making largely contributed to its dissemination. Like Bach, who admired him, Corelli was not an innovator, but he created a deeply personal art through synthesis. At a time when virtuoso singing was prevalent, he provided a model of elegance and balance, even being dubbed “The New Orpheus of Our Times”. The trio sonatas which form the present recording are dedicated to Corelli’s main Roman patrons; they reflect his personal evolution as well as the refinement of the violin, which was subject to an increasingly apparent emancipation within the orchestra. Sonate da camera and sonate da chiesa (chamber and church sonatas) embody the two opposite sides of the composer’s work and of this intimate form that characterized the expression of human emotion. They were thereafter abundantly imitated by his successors, of whom François Couperin may be the most important. At a time when French music was seeking to assert itself in the face of growing influence from south of the Alps, the author of the famous Goûts réunis became the first Frenchman to take the Italian master as his model. By placing Corelli amongst the muses in his Apothéose, Couperin paid him a vibrant tribute that the Folies françoises ensemble performs here with precision, sensibility and refinement.




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