Early 18th Century
Instrumental Music:
The Great String Music
Corelli
The violin and its family were behind the high point that occurred
in Italian music when the concerto grosso was perfected by
Arcangelo Corelli (1653-1715) who had spent four years in the
great Italian music center of Bologna learning directly from the
masters who created music in that important center. There were
three main composers of concerti grossi: Corelli, Giuseppe
Torelli (1658-1709) and Antonio Vivaldi (1676-1741). Besides these
three composers, there were the "conservatives" who
continued the tradition of Corelli: Albicastro, Albinoni, Bonporti,
Gregori, Mascitti, and Alessandro Scarlatti; there were the
"progressives" who continued the tradition of Vivaldi:
dall'Abaco, Gasparini, Manfredini, Marcello, Montanari, Taglietti,
Tessarini and Giuseppe Valentini; and there was a younger
generation represented by two composers: Geminiani and Locatelli.
Last but not least, there was Handel, who wrote his own beautiful
set of concerti grossi, and J.S. Bach who benefited so much
from the music of the Italian school.
It all began with the sonata.
The
Sonata
Sonata development took place in Northern Italy and especially at
San Petronio in the great music
center of Bologna. The church was famous all over Europe
for its great services adorned with the finest instrumental music
and many sonate da chiesa were written by Bolognesse
composers Cazzati and
Vitali. There were two types of sonatas: sonate da camera
(chamber sonatas)
and sonate da chiesa (church sonatas).*
Corelli
learned the art of San Petronio firsthand during his four year
stay in Bologna. Corelli wrote sonatas for violin and sonatas
called sonate a tre
(or trio sonatas) that were written for two violins plus organ for
the church, and a violone
(today a double bass) or a harpsichord for the chamber.
The
Concerto
The concerto developed from the sonata. In Bologna there were
three types of music: 1) Chamber music 2) Theater music 3) Church
music. The church sonatas (sonate da chiesa) were turned
into chamber music when they were performed at the academies of
Bologna and eventually became the concerto grosso or big
concerto.
The
first concerti grossi were written by Corelli and Torelli, but it
was Corelli who developed the form to the point that his Conceri
Grossi Opus 6 are considered to constitute the beginning of
the late baroque period in music. The term Concerto Grosso
was originally used by Corelli and Torelli (and by Gregori and
Valentini) to designate an orchestra composition and to make a
distinction from concerti sacri or concerti
ecclesiastici and from the concerti da camera that
were not orchestral compositions. Corelli wanted the title
concerto grosso to represent music that was orchestral, as opposed
to chamber music.
The
trio sonata is the foundation of the concerto grosso, built
on the principal of two differently sized contrasting instrumental
groups: a concertino group of four instruments (a trio
sonata section) and a full string orchestra.
* Church sonatas used organ, not
harpsichord, although this has unfortunately not always followed
in recordings. Many people still believe that continuo parts have
to be realized by harpsichord, but that is not true.
Arcangelo
Corelli (1653-1713)
Corelli was a very important composer who ushered in the new music
of the 18th Century in majesty and beauty. It was he who fully
brought tonality to music, and the flowering of his string
orchestral music became the underpinnings of our orchestra of
today. He was a composer and violinist who was born to a
prosperous family of landowners. He studied in nearby Lugo and
Faenza, and finally in Bologna, where he studied between 1666 and
1670 with Giovanni Benvenuti of the Accademia
filarmonica (to which Corelli was admitted in 1670) and
Leonardo Brugnoli, a virtuoso violinist.
Sometime between 1671 and 1675 Corelli
moved to Rome where he may have studied composition under Matteo
Simonelli, from whom he would have learned polyphony in the style
of Palestrina.
In 1675 he is listed as one of the subordinate violinists (Arcangelo
bolognese) in Roman payment documents; by 1679 he had begun to
lead Roman orchestras. His Opus 1 was published in 1681.
About 1700, the turn of the century,
Corelli's music began to spread all over Europe and soon it became
the most popular of all instrumental music. This was also the year
in which his violin sonatas, Opus 5, were published.
Contemporary violinist Andrew Manze,
director of the Academy
of Ancient Music, has written that Corelli's Opus 5 constitutes
"Arguably the finest and most influential [set of violin
sonatas] ever assembled. This publication was the single most
important musical link between the shadowlands of the seventeeth
century and the eighteenth's Newtonian Enlightenment. All other
baroque sonatas can be defined as being pre- or post-Corelli."
Geminiani, thought so much of the Opus 5 Sonatas that he made
arrangements of them as Concerti Grossi.
Corelli
was also the greatest violinist of his day. He invented
technique for the instrument (which was still fairly new) and
originated synchronized bowing for orchestras. He was hailed as
the greatest of virtuosos of the violin, the Paganini of his day.
Corelli's very popular concert tours brought the instrument its
prominent place in music.
Corelli composed 12 concerto grossi,
Opus 6. Records show some of these being played in Rome as early
as 1682. They were published in Amsterdam in 1714. The first 8 are da
chiesa. Among his many students were included not only
Geminiani but also Vivaldi and Handel! It was Vivaldi who became
Corelli's successor and who also greatly influenced the music of
Bach.
Opus
1 |
Sonate
da Chiesa a trč Op.1 Nos 1-12 (1681) |
Opus
2 |
Sonate
da Camera a trč Op.2 Nos 1-12 (1685) |
Opus
3 |
Sonate
da Chiesa a trč Op.3 Nos 1-12 (1689) |
Opus
4 |
Sonate
da Chiesa a trč Op.4 Nos. 1–12 (1694) |
Opus
5 |
Sonate
a violino e violoncello o cembalo Op.5 Nos. 1–11 and La
Folia (1700) |
Opus
6 |
Concerti
Grossi Op.6 Nos 1-12 |
|
Sinfonia
(WoO1) to the Oratorio Santa Beatrice d’Este |
|
Sonata
a Quattro WoO2 |
|
Sonate
a Quattro in D major (WoO4) Tromba sola, due Violini e Basso |
|
Sonate
Postume a due violini e violoncello col basso per l’Organo
(WoO5-10) |
On the
Web:
Baroque
Music Org
Excellent
Bio
CDs:
12
Concerti Grossi, Opus 6
Academy of St. Martin-in-the-Fields, Neville Marriner, director
London 443 862-2
Sonate
a tre
Ensemble Aurora, Enrico Gatti, maestro di concerto
Tactus TC 65030101
Violin
Sonatas, Opus 5
Book:
Corelli:
His Life, His Work
Giuseppe
Torelli (1658-1709)
Giuseppe Torelli was a composer and violinist who moved to Bologna
in the early 1680s and became a member of the Accademia
filarmonica. He studied with Perti and played viola at San
Petronio between 1686 and 1696. He became maestro di concerto to
the Margrave of Brandenburg at Ansbach in 1698. The following year
he was in Vienna. In 1701 he was back in Bologna at San Petronio
where he remained until his death. Torelli's contribution to our
musical heritage has sadly been denied. It is time to uncover the
music of this great composer, one of the founders of the 18th
century baroque tradition.
Torelli
wrote a very beautiful Christmas concerto that you can listen to here
CDs:
Concertos
Trumpet
Concertos
On
the Web:
Biography
Tomaso
Albinoni
(1671-1751)
Tomaso
Giovanni Albinoni was a composer who lived his entire life in
Venice. He was born in Venice in 1671, the son of a wealthy Venice
merchant. Early on he became a singer and violinist, but he did
neither professionally, instead becoming a composer. His first
opera, Zenobia, regina de Palmireni, was produced in Venice
in 1694 at the same time as his Opus 1, 12 Sonate a tre.
Albinoni
composed both vocal compositions (operas, cantatas and serenatas)
and instrumental works (sonatas and concertos). He
wrote as many as 81 operas, but most all are now lost. He
published nine books of music:
Opus
1 |
1694 |
12
Trio Sonatas |
Opus
2 |
1700 |
6
Sinfoniae & 6 Concerti a 5 |
Opus
3 |
1701 |
12
Baletti de Camera (a 3) |
Opus
4 |
1704 |
6
Sonate da Chiesa for Violin & Bass |
Opus
5 |
1707 |
12
Concertos |
Opus
6 |
1711 |
12
Sonate da Camera for Violin & Bass |
Opus
7 |
1716 |
12
Concertos for strings / oboe |
Opus
8 |
1721 |
6
Sonatas & 6 Baletti (a 3) |
Opus
9 |
1722 |
12
Concertos for strings / oboe |
The serenata is a dramatic cantata for two to six
voices. Two of these survive.
It is very unfortunate to state that much of Albinoni's
music was lost during World War II when American and
British planes conducted carpet
bombing on the city of Dresden, destroying the
Dresden State library. This is a reminder of the
importance of digitizing what remains of the old music and
writings, making it available via the internet to all
cultures of the world.
On the
Web:
Baroque
Music Org
CDs:
Tomaso
Albinoni Complete Concertos Opus 9
The complete Concertos Opus 9 and the adagio
for organ and strings (see note below)
I Musici
Philips 456 333-2
This CD by the
legendary I Musici string ensemble contains the complete
Opus 9 concertos of Albinoni and a very well-known, and beautiful,
composition called Albinoni's Adagio in G minor for Strings
and Organ that was not written by Albinoni at all, but by
one Remo Giazotto. The fact that Mr. Giazotto, an Italian Albinoni
scholar, wrote this piece, and not Albinoni, has been passed over
by record companies. In fact it was this composition, with its
erroneous credit, that led to Albinoni's popularity in the last
two decades. Mr. Giazotto based his composition on a fragment of
Albinoni's music found in Dresden.
Book:
Tomaso
Albinoni by Michael Talbot
A paperback edition published by
Clarendon Paperbacks in 1990
Pietro
Antonio Locatelli (1685-1764)
Locatelli was born in Bergamo, Italy, but moved to Rome where he
most likely studied composition, probably with Corelli. He was a
virtuoso violinist. In 1729 he moved to Amsterdam. Locatelli wrote
24 concerti grossi, first published in Amsterdam in 1720.
His Opus 1 consisted of 12 concerti grossi and 12 fugues.
These 12 concerti grossi have, thanks to Naxos, now been
rendered into recording medium and are available. And they are
treasures! In the style of Corelli, No. 8, similar to Corelli, is
a wonderful Christmas concerto. Yet these are not imitations, but
creations of a fine composer and wonderful treasures to listen to.
Let's hope Locatelli and his fellow Italian instrumentalists
become known in the 21st Century. This is beautiful music.
Opus 1 |
12
Concerti Grossi |
1721 |
Opus 3 |
12
Concerti Grossi |
1735 |
Opus 4 |
6
Symphonie and 6 Concerti |
1735 |
Opus 7 |
Concerti
a quattro |
1741 |
Opus 10 |
Contrasto
armonico; concerti a quarttro |
? |
On
the Web:
Biography CDs:
Concerti
Grossi No. 1--6
Concerti
Grossi No. 7-12
Francesco
Onofrio Manfredini (1684-1762)
Francesco Manfredini was born in Pistoia, Italy in 1684, and
studied in Bologna with Torelli and Perti. He published his set of
Concerto Grossi di camera, Opus 1 in 1704, the year he
became a member of the Accademia Filarmonica. Next came a
set of Sinfonie
da chiesa, Opus 2. He became head of music at St. Philip's
Cathedral in Pistoia in 1727 and remained there the rest of his
life. He left just 43 published works.
Opus
1 |
Concertini
per camera |
1704 |
Opus
2 |
Sinfonie
da chiesa |
1709 |
Opus
3 |
Concerti
condue violini e basso obbligati, e due altri violini,
viola, e basso de rinforzo |
1718 |
On
the Web:
Biography CDs:
Concerti
Grossi Opus 3 (1-12)
Francesco
Geminiani (1687-1762)
Francesco Geminiani was born in Lucca, Italy. He went to Milan to
study music, then to Rome where he completed music study with two
great composers, Corelli and Scarlatti. By 1707 he had returned to Lucca were he
was a violinist in the orchestra of the Signoria. He served the
court at Lucca until 1710, then conducted a theater orchestra in
Naples in 1711.
In 1714
Geminiani made a permanent move to London where he enjoyed a great
success as a violin virtuoso, playing for King George with Handel
accompanying him on the harpsichord. Geminiani's Opus 1 Violin Sonatas were published there in 1716.
In 1726 he
published arrangements and
embellished versions of Corelli's Opus 5 violin sonatas converted
into concerti grossi. These were very sucessful, as the
original works were very well known. His own concertos, Opus 2 and
3 appeared in 1732 and 1733.
Geminiani
was a higly regarded teach and violin virtuoso in England. His Opus1 and 4 violin sonatas were so difficult
that very few contemporary violinists dared play them in public. He wrote
treatises that were studied by violinists for many, many years. They include A Treatise on the
Art of Good Taste in Music (London, 1749), The Art of
Accompaniment (London, ca. 1754), and the famous of all three: The Art of
Playing on the Violin (London, 1754).
He went to Paris in 1754 where he wrote a ballet-pantomime
called The Enchanted
Forest. It was staged in Paris that year. He returned to
England in 1755. He moved to Ireland in 1760 and his last public appearance
took place on March 3, 1760; He
was 72 years old. A spectator wrote: "fine and elegant taste,
and the perfection of time and tune." He died in 1762.
Opus
1 |
12
Sonate per Violin |
1716 |
Opus
2 |
6
Concerti Grossi |
1732 |
Opus
3 |
6
Concerti Grossi |
1733 |
Opus
4 |
12
Sonate per Violin |
1739 |
Opus
5 |
6
Violoncello or Violin sonate |
1746 |
Opus
7 |
6
Concerti Grossi |
1746 |
|
The
Enchanted Forrest |
1754 |
On
the Web:
Biography
CDs:
Concerto
Grossi, Opus 7
The Academy of St. Martin-in-the-Fields, Iona Brown, director
ASV CD DCA 724
Concerti Grossi
Opus 2, 3 and 4
Southwest German Chamber Orchestra of Pforzheim, Paul Angerer, director
VoxBox CDX 5152
Naxos
Opus 2 and 3
Corelli's
Opus 5 Orchestrated by Geminiani
Various
Recordings
Book:
Francesco
Geminiani (1687-1762):
Part
1: Life and Works; Part 2: Thematic Catalogue
|