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Archangelo Corelli: Concerti Grossi Opus 6 Nos. 1-6 60:02
Philharmonia Baroque Orchestra
with
Nicholas McGegan, dir.
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Album Notes
Arcangelo Coreffi was at work preparing his Opus Six in 1711 and wrote a
dedication for the collection in 1712. However, the twelve "Concerti Grossi
with a Concertino of two Violins and Violoncello ohligati and tao other
Violins, Viola and Bass for the Concerto grosso that can be doubled at will"
did not appear until 1714, the year after the composer's death, issued by
the printer Etienne Roger of Amsterdam. As the title specifies, these works
juxtapose the sound of a trio-sonata group (two violins, 'cello, and continuo)
with a string ensemble, also provided with a continuo instrument __ a Roman
practice that goes back to Alessandro Stradella around 1675. (In the original
performances of the concerti the solo violins were played by Corelli and
Matteo Fornari, the solo 'cello by Giovanni Lorenzo Lullier). The first part
of the collection (Concerti I-VIII) consists of concerti corresponding to
the church sonata type established in Corelli's previously published trio
sonatas and sonatas for solo violin: an alternating succession of slow and
fast movements, plus an ad libitum Pastorale at the end of Concerto VIII,
the celebrated concerto for Christmas Eve (which may have beem composed as
early as 1690). The "Second Part for Chamber" (Concerti IX-XII) corresponds
to the chamber sonata type, "Preludes, Allemandes, Correnti, Giges, Sarabands,
Gavottes, and Minuets".
Like every production in Coneli's small output, the concerti grossi were
polished to perfection in private performance before appearing in print.
George Muffat reported that he had heard in Rome in 1682 "with great pleasure
and astonishment, several concertos... composed by the artful Signor Arcangelo
Corelli, and beautifully performed with the utmost accuracy by a great number
of instrumental players". (Athough Roman orchestras sometimes contained more
than eighty musicians __ one performance directed by Corelli in 1689 featured
39 violins, 10 violas, 17 'cellos, 10 basses, lute, two trumpets, and continuo
keyboards __ a more typical ensemble, as directed by Corelli in 1690, consisted
of the solo concertino with harpsichord continuo and a concerto grosso composed
of four violions, two violas, 'cello, and organ). Francesco Geminiani noted
the "uncommon accuracy" of their performance and marvelled at the unison bowings
Corelli demanded, so that "at his rehearsals, which constantly preceded every
public performance of his concertos, he would immediately stop the hand if he
discovered one irregular bow". It is not so much the virtuosity demanded by
the concerti as the classical elegance and polish achieved only by such long
preparation of these deceptively simple works that creates much of their effect.
Such performances explain wby Corelli's concerti swept Europe. After their initial
appearance in print some seventeen editions appeared between 1714 and 1,990.
Generations of music students have learned the standard order of the church
sonata as crystallised in the publications of Corelli: slow-fast-slow-fast,
with the initial fast movement contrapuntal in texture, the concluding one
more open and dance-like. Although the first eight concerti of Op. 6 are
concerti da chiesa, Corelli presents a much greater variety of formal patterns
and generic references, with clear reminiscences of the multi-movement
instrumental works of his Bolognese heritage. The most frequent pattern
for opening movements in the first six concerti grossi is that of a slow
introduction followed by a faster movement (Concerti III, IV, V, VI),
sometimes with Lullyan dotted rhythms suggesting the French ouverture
(I, III). The opening movement of Concerto II presents a complex structure
of Vivace (in the tonic key)/fugal Allegro/Adagio/Vivace(dominant)/AIlegro
(dominant)/Largo. The opening movement is followed in all the concerti
except II by a movement in a slower tempo and a pair of faster movements,
with an interpolated slow movement in Concerto V.
Corelli's imagination in effects of texture and his range of stylistic
reference are as rich as his command of formal variety. The relationship
between concertino and concerto grosso is variously treated as cadential
emphasis, echo, or solo embellishinent of the patterns laid down by the
concerto grosso. Particularly notable are the brilliant 'cello figuration
in the first Allegro of Concerto I and the violin figuration in the first
Allegro of Concerto V. Although the title of the first part of the Concerti
Grossi makes no reference to dance music, the rhythms of the dance permeate
such movements as the first largo of Concerto I, the gavotte-like finale
of Concerto II, and the gigue-finale of Concerto III.
harmonia mundi usa, 2037 Granville Ave., Los Angeles, CA 90025 (p)(c) 1989
Recording: April 1989, Ralston Hall Belmont CA.
Producer: Robina G. Young
Engineer: Peter McGrath
Editing: Hugh B. Davies, Robina G. Young
Cover: Cigoli Marble (1559-1613)
Booklet layout: Zenn Graphic Design
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