Albinoni: 6 Sonate dai TRATTENIMENTI ARMONICI PER CAMERA OP 6
Albinoni: 6 Sonate dai TRATTENIMENTI ARMONICI PER CAMERA OP  6
Release datum:
23-02-2016
Label:
Bongiovanni
Omschrijving:
TOMASO ALBINONI
Art.nr.:
GB5187
Discs:
1
Inhoud:
TOMASO ALBINONI
6 Sonatas from TRATTENIMENTI ARMONICI PER CAMERA OP. 6
Sonatas VI - X - IV - IX -II - XII
EL MELOPEO
Carolina Putica, recorder
Giordano Pegoraro, cello
Francesco Tomasi, lute
Enrico Bissolo, harpsichord

The Trattenimenti Armonici Per Camera, Divisi in Dodici Sonate à Violino, Violone e Cembalo op. 6 were printed in Amsterdam by Estienne Roger and Le Cene. No date appears on this edition, but eminent scholars (M. Talbot, E. Selfridge-Field and R. Giazotto) agree that this collection of works dates from between 1708 and 1712. Given its success, it was later reprinted twice, in 1718 and 1732, this time in London.
The twelve chamber sonatas, composed originally for violin, bass viol and harpsichord (as indicated in the frontispiece), all have the same, four-movement structure based on the traditional adagio-allegro-adagio-allegro form. The first movements are often marked Grave Adagio, pairing the melodic, arioso style of the Italian Adagio with the solemn octave progression in the bass typical of the Grave style. In the second movements, Albinoni indicates Allegro or Larghetto (the latter a term which masks the rhythmic and har- monic development typical of the Allemanda), while the third movements are all Adagio, except for the Largo in Sonata II. These are not simply connecting passages as was the case in Italian music of the preceding period, but offer true development in their own right. The final movements are characterized by more virtuosic writing (the tempo indications are Allegro and Allegro Assai), which, in some cases, become full-fledged Giga.
This CD contains six of the twelve sonatas that make up the Trattenimenti (nos. 2, 4, 6, 9, 10 and 12) performed by recorder with harpsichord, lute and cello basso continuo accompaniment. The decision to entrust the solo part to the recorder, in apparent contra- diction to what the composer himself indicated in the frontispiece (sonatas for violin, bass viol and harpsichord), is actually fully-jus- tified by eighteenth-century performance practice. In that period, many flautists drew heavily on violin literature and transcribed and inserted into their repertories works by Albinoni as well as many other composers. For example, the sixth and ninth sonatas of Albinoni’s Trattenimenti are also included in a manuscript containing music for recorder, found in the Biblioteca Palatina in Parma (CF-V-23), while for the sixth there also exists a transcription for transverse flute with bass (Ms. Herdringen 9820, Schloss Fürstenberg Bibliothek). This interchange between flute (both recorder and transverse) and violin repertory was continuous through- out the eighteenth century, as can be seen in the sonatas by N.F. Haym and M. Bitti, and the two collections of violin sonatas tran- scribed for flute by P. Chaboud, which also contained works by P. Castrucci and F. Geminiani. Mattheson composed sonatas for trans- verse flue or violin and Telemann paid homage to the Italian violin repertory in his Sonates corellisantes (Hamburg 1735) for two vio- lins (or two flutes) and basso continuo. All this demonstrates a (positive) interdependence between the two instruments which enjoyed a virtually parallel existence during their heyday.
The melodic elegance, harmonic equilibrium and geometric structure created by Albinoni make these sonatas a veritable gem of ines- timable worth whose beauty we have striven to offer in one of its innumerable facets.
Barcode:
8007068518722