Corelli: Sonatas Op. V Luis Beduschi & Philippe Grisvard

• Arcangelo Corelli (1653-1713): Sonata op.V n°1 in fa maggiore
• 1 I. Grave-Allegro-Adagio 04:12
• 2 II. Allegro 02:13
• 3 III. Allegro 00:56
• 4 IV. Adagio 03:44
• 5 V. Allegro 01:32
• Sonata op.V n°5 in re minore / Preludio al cembalo, Ferdinando de’ Medici (1633-1713)
• 6 I. Adagio 06:05
• 7 II. Vivace 02:09
• Interludio al cembalo secondo Johann Mattheson (1681-1764)
• 8 III. Adagio 02:39
• Interludio al cembalo secondo Johann Mattheson (1681-1764)
• 9 Vivace 02:09
• Var. I del Signore Cattaneo, Var. II del Signor Valentini
• 10 Giga con variazioni 04:36
• Sonata op.V n°3 in fa maggiore
• 11 I. Adagio 03:11
• 12 II. Allegro 01:56
• 13 III. Adagio 04:02
• 14 IV. Allegro 01:05
• 15 V. Allegro 02:05
• Sonata op.V n°4 in si b maggiore
• 16 I. Adagio 02:44
• 17 II. Allegro 02:23
• 18 III. Vivace con variazione 02:12
• 19 IV. Adagio 02:50
• 20 V. Vivace 02:12
• Sonata op.V n°2 in fa maggiore
• 21 I. Grave 03:37
• 22 II. Allegro 02:18
• 23 III. Vivace I 01:06
• 24 IV. Adagio II 03:10
• 25 V. Vivace II 01:17
• Sonata op.V n°6 in do maggiore / Preludio al della Ciaja cembalo, Azzolino Bernardino (1671-1755)
• 26 I. Grave 06:55
• 27 II. Allegro 02:19
• 28 III. Allegro 00:53
• 29 IV. Adagio 02:59
• 30 V. Allegro 01:55
• Total Runtime 01:21:24

Info for Corelli: Sonatas Op. V

It is unlikely that Corelli expected his Opus.V to be as influential as it turned out to be throughout the eighteenth century and well beyond. Indeed, by 1800 his Solos, as his sonatas were then called, had been republished more than fifty times. No other set of pieces in the eighteenth century gave rise to so many examples of free ornamentation. Manuscripts by twenty different authors are known to researchers today. The abundance of ornamented versions of the same piece by musicians from different generations and of such different origins has made Corelli’s op. 5 Sonatas a prime subject for the study of free ornamentation.

'For this recording I have chosen to play the ‘Corellian’ ornaments, and this for two main reasons: their undeniable qualities and beauty, which are immediately obvious to the listener and become even more so after a detailed analytical study of the sonatas, and the fact that they form a stylistically coherent body, i.e. all the slow movements from Sonatas I to VI of Corelli’s op. 5. [...] I chose to rule out those Baroque transcriptions, since they do not form a set, their ornamentation is not as refined as that of ‘Corelli’, and they were clearly intended for amateurs with limited technical abilities – this is obvious from the narrow ambitus, whence a frequent need to octaviate that all too often distorts Corelli’s original melodies.

This led me to make my own transcription, with the aim of keeping insofar as possible to the original melodic line. From the arrangements made by the anonymous ‘eminent master’ I retained the idea of ??horizontalising the polyphonic passages in the fugal movements. This makes it possible to ‘translate’ them into the language of a wind instrument without too much loss of information.' (Luis Beduschi)

Luis Beduschi, recorder
Philippe Grisvard, harpsichord

Recorded at La Chapelle Jésus Enfant, Paris in June 2010

No biography found.

Booklet for Corelli: Sonatas Op. V