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BEETHOVEN, GERSHWIN, PIAZZOLLA, PAGANINI, KREISLER, Salvatore Accardo, Laura Manzini, Orchestra da Camera Italiana
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wirtuozeria, przestrzeń i głębia, mikrokosmos!

finezja, lekkość, oczarowanie

rzetelność, konsekwencja i świeżość

perfekcja, elegancja, wirtuozeria

Osobowości

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Fantasie per violino solo

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CORELLI, Pavlo Beznosiuk, The Avison Ensemble

Opus 2 and 4 - Chamber Sonatas

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Disc 1 Sonata da camera in D Major, No. 1 - I. Preludio – Adagio Sonata da camera in D Major, No. 1 - II. Allemanda – Allegro Sonata da camera in D Major, No. 1 - III. Corrente – Allegro Sonata da camera in D Major, No. 1 - IV. Gavotta – Allegro Sonata da camera in D minor, No. 2 - I. Allemanda – Adagio Sonata da camera in D minor, No. 2 - II. Corrente – Allegro 7. Sonata da camera in D minor, No. 2 - III. Giga – Allegro 8. Sonata da camera in C Major, No. 3 - I Preludio – Largo 9. Sonata da camera in C Major, No. 3 - II. Allemanda – Allergro 10. Sonata da camera in C Major, No. 3 - III. Adagio 11. Sonata da camera in C Major, No. 3 - IV. Allemanda – Presto 12. Sonata da camera in E minor, No. 4 - I. Preludio – Adagio 13. Sonata da camera in E minor, No. 4 - II. Allemanda – Presto 14. Sonata da camera in E minor, No. 4 - III. Grave – Adagio 15. Sonata da camera in E minor, No. 4 - IV. Giga – Allegro 16. Sonata da camera in B-flat Major, No. 5 - I. Preludio – Adagio 17. Sonata da camera in B-flat Major, No. 5 - II. Allemanda – Allegro 18. Sonata da camera in B-flat Major, No. 5 - III. Sarabanda – Adagio 19. Sonata da camera in B-flat Major, No. 5 - IV. Tempo di Gavotta – Allegro 20. Sonata da camera in G minor, No. 6 - I. Allemanda – Largo 21. Sonata da camera in G minor, No. 6 - II. Corrente – Allegro 22. Sonata da camera in G minor, No. 6 - III. Giga – Allegro 23. Sonata da camera in F Major, No. 7 - I. Preludio – Adagio 24. Sonata da camera in F Major, No. 7 - II. Allemanda – Allegro 25. Sonata da camera in F Major, No. 7 - III. Corrente – Allegro 26. Sonata da camera in F Major, No. 7 - IV. Giga – Allegro 27. Sonata da camera in B minor, No. 8 - I. Preludio – Adagio 28. Sonata da camera in B minor, No. 8 - II Allemanda – Largo 29. Sonata da camera in B minor, No. 8 - III. Tempo di Sarabanda – Adagio 30. Sonata da camera in B minor, No. 8 - IV. Tempo di Gavotta – Allegro 31. Sonata da camera in F-sharp minor, No. 9 - I. Allemanda – Largo 32. Sonata da camera in F-sharp minor, No. 9 - II. Tempo di Sarabanda – Largo 33. Sonata da camera in F-sharp minor, No. 9 - III. Giga - Allegro 34. Sonata da camera in E Major, No. 10 - I. Preludio – Adagio 35. Sonata da camera in E Major, No. 10 - II. Allemanda – Allegro 36. Sonata da camera in E Major, No. 10 - III. Sarabanda – Largo 37. Sonata da camera in E Major, No. 10 - IV. Corrente – Allegro 38. Sonata da camera in E-flat Major, No. 11 - I. Preludio – Adagio 39. Sonata da camera in E-flat Major, No. 11 - II. Allemanda – Presto 40. Sonata da camera in E-flat Major, No. 11 - III. Giga – Allegro 41. Sonata da camera in G Major, No. 12 - I. Ciacona – Largo Disc 2 42. Sonata in C Major, No. 1 - I. Preludio - Largo 43. Sonata in C Major, No. 1 - II. Corrente – Allegro 44. Sonata in C Major, No. 1 - III. Adagio 45. Sonata in C Major, No. 1 - IV. Allemanda - Presto 46. Sonata in G minor, No. 2 - I. Preludio - Grave 47. Sonata in G minor, No. 2 - II. Allemanda - Allegro 48. Sonata in G minor, No. 2 - III. Grave 49. Sonata in G minor, No. 2 - IV. Corrente - Vivace 50. Sonata in A Major, No. 3 - I. Preludio - Largo 51. Sonata in A Major, No. 3 - II. Corrente – Allegro 52. Sonata in A Major, No. 3 - III. Sarabanda 53. Sonata in A Major, No. 3 - IV. Tempo di Gavotta - Allegro 54. Sonata in D Major, No. 4 - I. Preludio - Grave 55. Sonata in D Major, No. 4 - II. Corrente - Allegro 56. Sonata in D Major, No. 4 - III. Adagio 57. Sonata in D Major, No. 4 - IV. Giga - Allegro 58. Sonata in A minor, No. 5 - I. Preludio - Adagio 59. Sonata in A minor, No. 5 - II. Allemanda - Allegro 60. Sonata in A minor, No. 5 - III. Corrente - Vivace 61. Sonata in A minor, No. 5 - IV. Gavotta - Allegro 62. Sonata in E Major, No. 6 - I. Preludio - Adagio 63. Sonata in E Major, No. 6 - II. Allemanda - Allegro 64. Sonata in E Major, No. 6 - III. Giga - Allegro 65. Sonata in F Major, No. 7 - I. Preludio- Largo 66. Sonata in F Major, No. 7 - II. Corrente - Vivace 67. Sonata in F Major, No. 7 - III. Grave 68. Sonata in F Major, No. 7 - IV. Sarabanda - Vivace 69. Sonata in F Major, No. 7 - V. Giga - Allegro 70. Sonata in D minor, No. 8 - I. Preludio - Grave 71. Sonata in D minor, No. 8 - II. Allemanda - Allegro 72. Sonata in D minor, No. 8 - III. Sarabanda - Allegro 73. Sonata in B-flat Major, No. 9 - I. Preludio - Largo 74. Sonata in B-flat Major, No. 9 - II. Corrente - Allergo 75. Sonata in B-flat Major, No. 9 - III. Grave 76. Sonata in B-flat Major, No. 9 - IV. Tempo di Gavotta - Presto 77. Sonata in G Major, No. 10 - I. Preludio - Adagio 78. Sonata in G Major, No. 10 - II. Grave 79. Sonata in G Major, No. 10 - III. Tempo di Gavotta - Presto 80. Sonata in 4 Major, No. 11 - I. Preludio - Largo 81. Sonata in 4 Major, No. 11 - II. Corrente - Allegro 82. Sonata in 4 Major, No. 11 - III. Allemanda - Allegro 83. Sonata in A Major, No. 12 - I. Preludio - Largo 84. Sonata in A Major, No. 12 - II. Allemanda - Presto 85. Sonata in A Major, No. 12 - III. Giga - Allegro

Pavlo Beznosiuk - conductor
The Avison Ensemble - orchestra

CORELLI

129.00 PLN

2 SACD Multi-CH HDCD:

Nr kat.: CKD413
Label : Linn Records

Popular since their publication, Corelli's two sets of chamber sonatas are a pinnacle of Baroque Italian instrumental music. They demonstrate a superior level of craftsmanship; they are of the highest quality, exquisitely refined and a good example of perfection in music. Arcangelo Corelli The Italian violinist Arcangelo Corelli was not a prolific composer. In total he published six collections of music, all of which consist of instrumental music alone. Nevertheless, Corelli is held to be one of the greatest composers of the Baroque era and his music was widely disseminated and reissued many times. Corelli's significance as a composer is due to his influence. Many other composers found his work to be a perfect model for their own compositions; as such, sonatas and concertos in the Corellian style were produced in vast quantities throughout Europe. His Op. 6 Concerti Grossi, published posthumously in 1714, were well received, as were his Op. 5 Violin Sonatas from 1700. The Op. 5 was one of the most successful works of all-time, as shown by the immense number of reprints that appeared in the century after its first publication. Nevertheless, Corelli first found fame as a composer of trio sonatas, of which he published four sets of twelve between 1681 and 1694. Corelli was born on 17 February 1653 in Fusignano, a small provincial town, less than a month after the death of his father and in whose memory he was named. He studied the violin locally before he moved to Lugo and then to Bologna no earlier than 1666; by 1675 Corelli had relocated to Rome where he worked for a series of patrons. His first patron was Queen Christina of Sweden, to whom he dedicated his 1681 Op. 1 trio sonatas. After a change in her financial circumstances, Corelli had no option but to leave Queen Christina's service and by 1684 had entered the employment of Cardinal Benedetto Pamphili. Pamphili, who had inherited his wealth from his parents, was of a more worldly nature than one would expect of a cardinal. Much to the Pope's disapproval, Pamphili was a regular patron of the theatre and held extravagant parties at his family villa in Cecchignola. Additionally, he was also well known for his investments in the arts. Corelli performed in Pamphili's orchestra and honoured his illustrious benefactor through the dedication of his 1685 Op. 2 sonatas, in which he described Pamphili as a ‘worthy...protector of the Muses.' fragment bookletu © Simon D. I. Fleming, 2013 ‘The Avison Ensemble offer suave, personable performances, allowing this exquisitely engaging music to do its own work.’ The Sunday Times ‘What emerges in Pavlo Beznosiuk’s supple performance with the Avison Ensemble is music of immense suavity and elegance – from the enchanting Largo of the 6th, to the tender pastoral of the Christmas Concerto.’ The Independent

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