Wydawnictwo: Accent
Nr katalogowy: ACC 24233
Nośnik: 1 CD
Data wydania: styczeń 2012
EAN: 4015023242333
Nr katalogowy: ACC 24233
Nośnik: 1 CD
Data wydania: styczeń 2012
EAN: 4015023242333
Nasze kategorie wyszukiwania
Epoka muzyczna: barok
Obszar (język): niemiecki, włoski
Instrumenty: viola da gamba
Rodzaj: sonata
Epoka muzyczna: barok
Obszar (język): niemiecki, włoski
Instrumenty: viola da gamba
Rodzaj: sonata
Schenck / Corelli / Handel: Il vero Orfeo: Sonatas for viola da gamba by and inspired by Arcangelo Corelli
Accent - ACC 24233
Kompozytor
Arcangelo Corelli (1653-1713)
Johannes Schenck (1660-1712)
George Frideric Handel (1685-1759)
Arcangelo Corelli (1653-1713)
Johannes Schenck (1660-1712)
George Frideric Handel (1685-1759)
Wykonawcy
Friederike Heumann, viola da gamba
Patric Sepec, baroque cello
Eduardo Egüez, theorbo
Dirk Börner, harpsichord, organ
Friederike Heumann, viola da gamba
Patric Sepec, baroque cello
Eduardo Egüez, theorbo
Dirk Börner, harpsichord, organ
Nagrody i rekomendacje
Utwory na płycie:
1 Sonate Nr. 5 e-moll (L'Echo du Danube) - Prélude.mp3- 10 Sonate für Viola da Gamba und Basso continuo g-moll - 4. Allegro.mp3
- 11 Sonate für Viola da Gamba und Basso continuo g-moll - Prélude_ Improvisation für Laute.mp3
- 11 Sonate für Viola da Gamba und Basso continuo g-moll - Prélude: Improvisation für Laute.mp3
- 12 Sonate für Viola da Gamba und Basso continuo C-Dur Nr. 3 - 1. Adagio.mp3
- 13 Sonate für Viola da Gamba und Basso continuo C-Dur Nr. 3 - 2. Allegro.mp3
- 14 Sonate für Viola da Gamba und Basso continuo C-Dur Nr. 3 - 3. Adagio.mp3
- 15 Sonate für Viola da Gamba und Basso continuo C-Dur Nr. 3 - 4. Allegro.mp3
- 16 Sonate für Viola da Gamba und Basso continuo C-Dur Nr. 3 - 5. Allegro.mp3
- 17 Sonate Nr. 5 e-moll (L'Echo du Danube) - Adagio.mp3
- 18 Sonate Nr. 5 e-moll (L'Echo du Danube) - Vivace.mp3
- 19 Sonate für Viola da Gamba und Basso continuo G-Dur Nr. 6 - 1. Adagio.mp3
- 2 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 1. Preludio_ Largo.mp3
- 2 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 1. Preludio: Largo.mp3
- 20 Sonate für Viola da Gamba und Basso continuo G-Dur Nr. 6 - 2. Allegro.mp3
- 21 Sonate für Viola da Gamba und Basso continuo G-Dur Nr. 6 - 3. Allegro.mp3
- 22 Sonate für Viola da Gamba und Basso continuo G-Dur Nr. 6 - 4. Adagio.mp3
- 23 Sonate für Viola da Gamba und Basso continuo G-Dur Nr. 6 - 5. Allegro.mp3
- 3 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 2. Allemanda_ Allegro.mp3
- 3 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 2. Allemanda: Allegro.mp3
- 4 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 3. Sarabanda_ Largo.mp3
- 4 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 3. Sarabanda: Largo.mp3
- 5 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 4. Giga_ Allegro.mp3
- 5 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - 4. Giga: Allegro.mp3
- 6 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - Prélude_ Improvisation für Cembalo.mp3
- 6 Sonate für Violine und Basso continuo e-moll op. 5 Nr. 8 - Prélude: Improvisation für Cembalo.mp3
- 7 Sonate für Viola da Gamba und Basso continuo g-moll - 1. Andante larghetto.mp3
- 8 Sonate für Viola da Gamba und Basso continuo g-moll - 2. Allegro.mp3
- 9 Sonate für Viola da Gamba und Basso continuo g-moll - 3. Adagio.mp3
Arcangelo Corelli (1653-1713):
Sonatas III, VI & VIII for viola da gamba & basso continuo
Johann Schenck (c 1660-1712):
Sonata II in a pour une Viole de gambe et bc (from L´Echo du Danube) rélude pour une Viole de gambe seule (from Sonata V in e)
Georg Friedrich Händel (1685-1759):
Sonata G minor for viola da gamba & bc
Sonatas III, VI & VIII for viola da gamba & basso continuo
Johann Schenck (c 1660-1712):
Sonata II in a pour une Viole de gambe et bc (from L´Echo du Danube) rélude pour une Viole de gambe seule (from Sonata V in e)
Georg Friedrich Händel (1685-1759):
Sonata G minor for viola da gamba & bc
Arcangelo Corelli, described as the "vero orfeo di nostri tempi” by his pupil Francesco Gasparini, produced the most popular printed music of his time with his Violin Sonatas Opus 5 published in Rome in 1700. As these sonatas were not primarily focused on the technical demands of the violin, adaptations of these works for viola da gamba soon followed. Handel’s Sonata in G minor, originally for violin, includes a note that this music would also be suitable for performance “per la Viola da Gamba” and provides a further example of an adaptation of a sonata for viola da gamba. It is clear that Handel had closely studied Corelli’s style, and the influence of Italian violin technique is also unmistakeable in the second gamba sonata from Johann Schenck’s “L’echo du Danube“.
Friederike Heumann has selected the sonatas Nos. 8, 3 and 6 from Corelli’s Opus 5 for this recording. The title page of the first edition does not specify the instrumentation of the basso continuo: this permitted the utilisation of a wide range of different instrumental combinations on this recording to set off the colouring and expressiveness of the viola da gamba part. Patrick Sepec interpretation of the bass line explores the intrinsic melodic possibilities of the Baroque cello, thereby entering into a dialogue with the viola da gamba. Eduardo Egüez provides a transparent and poetic accompaniment on the theorbo complemented by Dirk Börner who exploits the chordal richness and variety of the organ and harpsichord to the full.
Friederike Heumann has selected the sonatas Nos. 8, 3 and 6 from Corelli’s Opus 5 for this recording. The title page of the first edition does not specify the instrumentation of the basso continuo: this permitted the utilisation of a wide range of different instrumental combinations on this recording to set off the colouring and expressiveness of the viola da gamba part. Patrick Sepec interpretation of the bass line explores the intrinsic melodic possibilities of the Baroque cello, thereby entering into a dialogue with the viola da gamba. Eduardo Egüez provides a transparent and poetic accompaniment on the theorbo complemented by Dirk Börner who exploits the chordal richness and variety of the organ and harpsichord to the full.
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