CD1
Concerto Grosso in F major, Op. 6, No. 2 		(8:44)
1 I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo andante 		00:03:55
2 II. Allegro 		00:01:28
3 III. Grave - Andante largo 		00:01:28
4. Allegro 		00:01:53

Concerto Grosso in D major, Op. 6, No. 4 		(9:10)
5 I. Adagio - Allegro 		00:03:27
6 II. Adagio 		00:01:09
7 III. Vivace 		00:01:17
8 IV. Allegro 		00:03:17

Concerto Grosso in B flat major, Op. 6, No. 5 		(9:54)
9 I. Adagio - Allegro - Adagio 		00:03:28
10 II. Adagio 		00:01:18
11 III. Allegro - Adagio 		00:01:51
12 IV. Largo - Allegro 		00:03:17

Concerto Grosso in C minor, Op. 6, No. 3		(10:48)
13 I. Largo 		00:02:01
14 II. Allegro - Adagio 		00:01:51
15 III. Grave 		00:02:08
16 IV. Vivace 		00:02:11
17 V. Allegro 		00:02:37

Concerto Grosso in D major, Op. 6, No. 1 		(11:40)
18 I. Largo - Allegro - Largo - Allegro 		00:04:41
19 II. Largo 		00:03:13
20 III. Allegro 		00:01:54
21 IV. Allegro 		00:01:52

Concerto Grosso in F major, Op. 6, No. 6 		(11:33)
22 I. Adagio 		00:00:59
23 II. Allegro 		00:02:20
24 III. Largo 		00:03:03
25 IV. Vivace 		00:02:31
26 V. Allegro 		00:02:40

CD2
Concerto Grosso in D Major, Op. 6, No. 7 	(8:38)
1.   I. Vivace - Allegro 00:01:37
2.   II. Adagio 00:01:15
3.   III. Allegro 00:02:00
4.   IV. Andante largo 00:03:13
5.   V. Allegro 00:01:04
6.   VI. Vivace 00:01:13

Concerto Grosso in G Minor, Op. 6, No. 8, "Christmas Concerto"	(13:16)
7.   I. Vivace - Grave 00:01:17
8.   II. Allegro 00:02:03
9.   III. Adagio - Allegro - Adagio 00:03:34
10. IV. Vivace 00:01:11
11. V. Allegro 00:02:05
12.  VI. Pastorale ad libitum: Largo 00:04:19

Concerto Grosso in F Major, Op. 6, No. 9	(8:39)
13.   I. Preludio: Largo 00:01:21
14.   II. Allemanda: Allegro 00:02:30
15.   III. Corrente: Vivace 00:01:29
16.   IV. Gavotta: Allegro 00:00:47
17.   V. Adagio 00:01:02
18.   VI. Minuetto: Vivace 00:01:38

Concerto Grosso in C Major, Op. 6, No. 10	(9:29)
19.   I. Preludio: Andante largo 00:02:03
20.   II. Allemanda: Allegro 00:02:41
21.   III. Adagio 00:01:00
22.   IV. Corrente: Vivace 00:02:28
23.   V. Allegro 00:02:31
24.   VI. Minuetto: Vivace 00:01:48

Concerto Grosso in B-Flat Major, Op. 6, No. 11		(7:54)
25.   I. Preludio: Andante largo 00:01:57
26.   II. Allemanda: Allegro 00:02:24
27.   III. Adagio 00:00:52
28.   IV. Andante largo 00:01:17
29.   V. Sarabanda: Largo 00:01:11
30.   VI. Giga: Vivace 00:01:21

Concerto Grosso in F Major, Op. 6, No. 12		(8:37)
31.   I. Preludio: Adagio 00:02:19
32.   II. Allegro 00:02:23
33.   III. Adagio 00:02:17
34.   IV. Sarabanda: Vivace 00:00:54
35.   V. Giga: Allegro 00:02:41

Europa Galante (Ensemble)
Fabio Biondi – violin, director

As usual Farbio Biondi and Europa Galante can be counted on for performances of great virtuostic flair and expressive warmth, rivalled by few ensembles active today. Their advocacy of Corelli's wonderful set of published Concerti Grossi cannot be praised highly enough.

Corelli was a composer who was reknown in his time for his virtuoso violin playing. Although he eventually lapsed into obscurity, his music was held in high regard right up till the early 19th century, when some scholars regarded his music to be superior to that of Handel. Stylistically he fits into the tradition of Concerto Grosso writing of movements that alternated in the slow-quick-slow-quick fashion that later gave way to the Venetian Concerto with its quick-slow-quick format. A Roman artist, it is interesting to note the great reserve, nobility and eloquence of the writing which demands comparison to his more colorful Venetian colleagues. Perhaps that even reflects a certain influence of Palestrina, for the reserved and eloquent lyricism with a relative avoidance of clashing dissonance certainly begs comparison. The result is music that compares favorably to Mozart in its angelic effortlessness, except garnished with an added touch of Italianate virtuostic flair, as well as some wonderful part writing.

Corelli is a composer who really should be played, heard and loved much more than he is. If you love to discover semi-obscure Baroque composer of extraordinary depth and profundity, you will find undiscovered riches here aplenty. For those already familiar with Corelli, the performances here could scarcely be bettered, and when presented in this sort of value for money package, it is a down right steal. Enthusiastically recommended! ---Sator, amazon.com

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Concerto grosso Op. 6 No. 8 'fatto per la notte di Natale'

1. Vivace - Grave. Arcato sostenuto
2. Allegro
3. Adagio – Allegro – Adagio
4. Vivace
5. Allegro
6. Largo. Pastorale ad libitum

Collegium Musicum 90
Simon Standage – director

Although one cannot be sure, Arcangelo Corelli's famous Christmas Concerto -- the Concerto grosso in G minor, Op. 6, No. 8 ("Fatto per la notte di Natale," as the inscription actually reads) -- may well have been composed a full quarter century before it first appeared in print, posthumously, in 1714; there is a record of Corelli having, in 1690, performed a Christmas Concerto for the enjoyment of his then-new patron, Cardinal Pietro Ottoboni. The Christmas Concerto is easily Corelli's best-known piece of music, though isolated movements from the sonatas have, through other composers' adaptations, achieved vast individual fame. It is at heart an example of the sonata da chiesa, expanded from the usual four movements to five and incorporating into the last movement a rolling, 12/8 meter Pastorale ad libitum. Like the rest of the Op. 6 concerti, it is scored for a concertante group consisting of two violins and a cello and a larger tutti ensemble.

The normal slow-fast-slow-fast organization of the sonata da chiesa underlies everything that happens in the Christmas Concerto; but Corelli at several key points makes a concerted effort to turn that textbook organization on its head. Six measures of fiery Vivace preface the opening Grave movement, and the third movement (Adagio) has a central Allegro episode in which the first solo violin and first tutti violins suddenly break out with a rapid, ruffled sixteenth note oscillation (complex first movement structures that incorporate many changes of tempo are not at all unusual throughout Op. 6, indeed, the opening movement of Op. 6, No. 1 has no fewer than seven tempo indications in it!).

The second movement is in the usual binary form, and is built around Corelli's favorite kind of staggered, imitative suspensions. The fourth movement, Vivace, which would normally be the finale, is very short, so as to make room for the sizeable fifth movement, the body of which is an Allegro, but the true heart of which is that most famous of all Corelli music: the lovely, serene Pastorale (Largo). ---Blair Johnston, Rovi

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Violin Sonata in D major, Op. 5, No. 1 (arr. for flute)	  	   	  	  	  	  
I. Grave - Allegro - Adagio - Grave - Allegro - Adagio 		3:10 
II. Allegro - Adagio 		2:08  	  	  	 
III. Allegro 		1:04  	  	   
IV. Adagio 		3:24  	  	 
V. Allegro 		1:32  	  

Violin Sonata in B flat major, Op. 5, No. 2 (arr. for flute)
I. Grave 		2:45  
II. Allegro - Adagio 		2:03 
III. Vivace 		1:20 
IV. Adagio 		2:52  	
V. Vivace 		1:08  	

Violin Sonata in C major, Op. 5, No. 3 (arr. for flute)
I. Adagio 		3:11 
II. Allegro - Adagio 		1:48  	
III. Adagio 		3:20  	  	
IV. Allegro - Adagio 		1:00  
V. Allegro 		2:25 

Violin Sonata in F major, Op. 5, No. 4 (arr. for flute)
I. Adagio 		2:17  	  
II. Allegro - Adagio 		2:10  	
III. Vivace 		1:16 
IV. Adagio 		2:46  	
V. Allegro 		2:10  

Violin Sonata in G minor, Op. 5, No. 5 (arr. for flute)
I. Adagio 		3:11 
II. Vivace - Adagio 		1:42  	  
III. Adagio 		2:24  	  	   
IV. Vivace 		1:15  	   
V. Gigue: Allegro 		1:29  	

Violin Sonata in A major, Op. 5, No. 6 (arr. for flute)
I. Grave 		3:02  	   
II. Allegro - Adagio 		2:04  	  
III. Allegro 		1:03  	  	 
IV. Adagio 		2:48  	 
V. Allegro 		1:57  	  

Benedek Csalog – baroque flute
Leon Berben – harpsichord

Arcangelo Corelli published Opus 5 on 1st January, 1700, his one and only set of violin sonatas, and arguably the finest and most influential ever assembled...all other baroque sonatas can be defined as being pre- or post-Corelli. ---Andrew Manze, BBC Review

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1- 4. Sonata [da chiesa] a tre, Op.1 No.1 in F major
5- 8. Sonata [da chiesa] a tre, Op.1 No.2 in E minor
9-12.  Sonata [da chiesa] a tre, Op.1 No.3 in A major
13-16. Sonata [da chiesa] a tre, Op.1 No.4 in A minor
17-20. Sonata [da chiesa] a tre, Op.1 No.5 in B flat major
21-24. Sonata [da chiesa] a tre, Op.1 No.6 in B minor
25-27. Sonata [da chiesa] a tre, Op.1 No.7 in C major
28-31. Sonata [da chiesa] a tre, Op.1 No.8 in C minor
32-35. Sonata [da chiesa] a tre, Op.1 No.9 in G major
36-39. Sonata [da chiesa] a tre, Op.1 No.10 in G minor
40-43. Sonata [da chiesa] a tre, Op.1 No.11 in D minor
33-47. Sonata [da chiesa] a tre, Op.1 No.12 in D major

Catherine Mackintosh violin
Elizabeth Wallfisch violin
Richard Boothby cello
Robert Woolley organs
Jakob Lindberg theorbo and archlute

Recording venues St Michael's Church, Highgate, London
22 & 23 January and 14 &15 May 1990

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1 - 4. No.1 in C major
5 – 8. No.2 in G minor
9 – 12. No.3 in A major
13 -16. No.4 in D major
17 -20. No.5 in A minor
21 -23. No.6 in E major
24 -27. No.7 in F major
28 -30. No.8 in D minor
31 -34. No.9 in B flat major
35 -37. No.10 in G major
38 -40. No.11 in C minor
41 -54. No.12 in B minor

The Purcell Quartet:
Catherine Mackintosh – violin
Catherine Weiss – violin
Richard Boothby – cello
Robert Woolley – harpsichord
+
Jakob Lindberg - theorbo and archlute

Recording venue Snape Malting Concert Hall. Suffolk: 29-31 January 1992

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1- 4. Sonata da camera a tre Op.2 No.1 in D major
5- 7. Sonata da camera a tre Op.2 No.2 in D minor
8- 11. Sonata da camera a tre Op.2 No.3 in C major
12-15. Sonata da camera a tre Op.2 No.4 in E minor
16-19. Sonata da camera a tre Op.2 No.5 in B flat major
20-22. Sonata da camera a tre Op.2 No.6 in G minor
23-26. Sonata da camera a tre Op.2 No.7 in F major
27-30. Sonata da camera a tre Op.2 No.8 in B minor
31-33. Sonata da camera a tre Op.2 No.9 in F sharp minor
34-37. Sonata da camera a tre Op.2 No.10 in E major
38-40. Sonata da camera a tre Op.2 No.11 in E flat major
41. Sonata da camera a tre Op.2 No.12 in G major

The Purcell Quartet:
Catherine Mackintosh - violin
Elizabeth Wallfisch – violin
Richard Boothby – cello
Robert Woolley – harpsichord
Jakob Lindberg theorbo and archlute

Recording venues St Bartholomew's Church, Oxford, Suffolk: 26-28 July 1990

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	Sonate da Chiesa a tre 
    	Op. 3 No. 1 in F major 	6:18
1 		Grave 	1:39
2 		Allegro 	1:12
3 		Vivace 	2:30
4 		Allegro 	0:56

	Op. 3 No. 2 in D minor 	7:11
5 		Grave 	1:53
6 		Allegro 	0:58
7 		Adagio 	2:16
8 		Allegro 	2:02
  	  	  		
	Op. 3 No. 3 in B flat major 	5:09
9 		Grave 	1:26
10 		Vivace 	0:34
11 		Largo 	1:25
12 		Allegro 	1:25
  	  	  		
	Op. 3 No. 4 in B minor 	6:17
13 		Largo 	1:57
14 		Vivace 	1:13
15 		Largo 	2:01
16 		Presto 	1:04
  	  	  		
	Op. 3 No. 5 in D minor 	5:39
	
17 		Grave 	1:51
18 		Allegro 	1:25
19 		Largo 	1:11
20 		Allegro 	1:10
  	  	  		
	Op. 3 No. 6 in G major 	5:43
21 		Vivace 	2:03
22 		Grave 	1:33
23 		Allegro 	1:12
24 		Allegro 	0:54
  	  	  		
	Op. 3 No. 7 in E minor 	6:09
25 		Grave 	1:56
26 		Allegro 	0:50
27 		Adagio 	2:04
28 		Allegro 	1:16
  	  	  		
	Op. 3 No. 8 in C major 	5:45
  	 for two violins, cello and archlute 	
29 		Largo 	1:32
30 		Allegro 	1:18
31 		Largo 	1:33
32 		Allegro 	1:20
  	  	  		
	Op. 3 No. 9 in F minor 	5:13
33 		Grave 	1:31
34 		Vivace 	0:54
35 		Largo 	1:04
36 		Allegro 	1:44
  	  	  		
	Op. 3 No. 10 in A minor 	4:33
37 		Vivace 	0:47
38 		Allegro - Adagio 	1:55
39 		Allegro 	1:49
  	  	  		
	Op. 3 No. 11 in G minor 	5:18
40 		Grave 	1:37
41 		Presto 	0:59
42 		Adagio 	1:28
43 		Allegro 	1:13
  	  	  		
	Op. 3 No. 12 in A major 	6:52
44 		Grave - Allegro - Adagio 	2:10
45 		Vivace 	1:02
46 		Allegro 	1:00
47 		Allegro 	1:30
48 		Allegro 	1:07

The Purcell Quartet:
Catherine Mackintosh - violin
Elizabeth Wallfisch – violin
Richard Boothby - cello
Robert Woolley – organs
Jakob Lindberg - theorbo and archlute

Recording venue St Michael's Church, Highgate, London: 6-9 November 1990

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CD1
1.	Sonata Da Chiesa No. 1 In Re Maggiore: I. Grave - Adagio - Grave - Allegro - Adagio
2.	Sonata Da Chiesa No. 1 In Re Maggiore: II. Allegro 
3.	Sonata Da Chiesa No. 1 In Re Maggiore: III. Allegro 
4.	Sonata Da Chiesa No. 1 In Re Maggiore: IV. Adagio 
5.	Sonata Da Chiesa No. 1 In Re Maggiore: V. Allegro 
6.	Sonata Da Chiesa No. 2 In Si Bemolle Maggiore: I. Grave 
7.	Sonata Da Chiesa No. 2 In Si Bemolle Maggiore: II. Allegro 
8.	Sonata Da Chiesa No. 2 In Si Bemolle Maggiore: III. Vivace 
9.	Sonata Da Chiesa No. 2 In Si Bemolle Maggiore: IV. Adagio 
10.	Sonata Da Chiesa No. 2 In Si Bemolle Maggiore: V. Vivace 
11.	Sonata Da Chiesa No. 3 In Do Maggiore: I. Adagio 
12.	Sonata Da Chiesa No. 3 In Do Maggiore: II. Allegro 
13.	Sonata Da Chiesa No. 3 In Do Maggiore: III. Adagio 
14.	Sonata Da Chiesa No. 3 In Do Maggiore: IV. Allegro 
15.	Sonata Da Chiesa No. 3 In Do Maggiore: V. Allegro 
16.	Sonata Da Chiesa No. 4 In Fa Maggiore: I. Adagio 
17.	Sonata Da Chiesa No. 4 In Fa Maggiore: II. Allegro 
18.	Sonata Da Chiesa No. 4 In Fa Maggiore: III. Vivace 
19.	Sonata Da Chiesa No. 4 In Fa Maggiore: IV. Adagio 
20.	Sonata Da Chiesa No. 4 In Fa Maggiore: V. Allegro 
21.	Sonata Da Chiesa No. 5 In Sol Minore: I. Adagio 
22.	Sonata Da Chiesa No. 5 In Sol Minore: II. Vivace 
23.	Sonata Da Chiesa No. 5 In Sol Minore: III. Adagio 
24.	Sonata Da Chiesa No. 5 In Sol Minore: IV. Vivace 
25.	Sonata Da Chiesa No. 5 In Sol Minore: V. Giga: Allegro 
26.	Sonata Da Chiesa No. 6 In La Maggiore: I. Grave 
27.	Sonata Da Chiesa No. 6 In La Maggiore: II. Allegro - Adagio 
28.	Sonata Da Chiesa No. 6 In La Maggiore: III. Allegro 
29.	Sonata Da Chiesa No. 6 In La Maggiore: IV. Adagio 
30.	Sonata Da Chiesa No. 6 In La Maggiore: V. Allegro 

CD2
1.	Sonata Da Camera No. 7 In Re Minore: I. Preludio (Vivace) 
2.	Sonata Da Camera No. 7 In Re Minore: II. Corrente (Allegro) 
3.	Sonata Da Camera No. 7 In Re Minore: III. Sarabanda (Largo) 
4.	Sonata Da Camera No. 7 In Re Minore: IV. Giga (Allegro) 
5.	Sonata Da Camera No. 8 In Mi Minore: I. Preludio (Largo) 
6.	Sonata Da Camera No. 8 In Mi Minore: II. Allemanda (Allegro) 
7.	Sonata Da Camera No. 8 In Mi Minore: III. Sarabanda (Largo) 
8.	Sonata Da Camera No. 8 In Mi Minore: IV. Giga (Allegro) 
9.	Sonata Da Camera No. 9 In La Maggiore: I. Preludio (Largo) 
10.	Sonata Da Camera No. 9 In La Maggiore: II. Giga (Allegro) 
11.	Sonata Da Camera No. 9 In La Maggiore: III. Adagio
12.	Sonata Da Camera No. 9 In La Maggiore: IV. Tempo Di Gavotta	Ascolta
13.	Sonata Da Camera No. 10 In Fa Maggiore: I. Preludio (Adagio) 
14.	Sonata Da Camera No. 10 In Fa Maggiore: II. Allemanda (Allegro) 
15.	Sonata Da Camera No. 10 In Fa Maggiore: III. Sarabanda (Largo) 
16.	Sonata Da Camera No. 10 In Fa Maggiore: IV. Gavotta (Allegro) 
17.	Sonata Da Camera No. 10 In Fa Maggiore: V. Giga (Allegro) 
18.	Sonata Da Camera No. 11 In Mi Maggiore: I. Preludio (Adagio) 
19.	Sonata Da Camera No. 11 In Mi Maggiore: II. Allegro 
20.	Sonata Da Camera No. 11 In Mi Maggiore: III. Adagio 
21.	Sonata Da Camera No. 11 In Mi Maggiore: IV. Vivace 
22.	Sonata Da Camera No. 11 In Mi Maggiore: V. Gavotta (Allegro) 
23.	Sonata No. 12 In Re Minore, "Follia": I. Tema - Variazione 1 (Adagio)
24.	Sonata No. 12 In Re Minore, "Follia": II. Variazioni 2-7 (Allegro) 
25.	Sonata No. 12 In Re Minore, "Follia": III. Variazione 8 (Adagio) 
26.	Sonata No. 12 In Re Minore, "Follia": IV. Variazioni 9-10 (Vivace - Allegro)	
27.	Sonata No. 12 In Re Minore, "Follia": V. Variazioni 11-13 (Andante - Allegro) 
28.	Sonata No. 12 In Re Minore, "Follia": VI. Variazioni 14-15 (Adagio) 
29.	Sonata No. 12 In Re Minore, "Follia": VII. Variazioni 16-18 (Allegro) 
30.	Sonata No. 12 In Re Minore, "Follia": VIII. Variazioni 19-22 (Adagio - Allegro) 

Accademia Bizantina:
Stefano Montanari, violino
Mauro Valli, violoncello piccolo
Nicola Dal Maso, violone
Tiziano Bagnati, arciliuto, tiorba e chitarra barocca
Romano Valentini, organo
Ottavio Dantone, concertazione al cembalo

These are fine performances of the foundational documents of the modern instrumental sonata, but listeners should sample them and be sure they're on board with all of the assumptions being made here. Corelli's 12 Violin Sonatas, Op. 5, are divided between the sonata da camera (chamber sonata) and sonata da chiesa (church sonata) types, between short suites of dance-based movements and abstract, mostly binary structures, respectively. Unlike other instrumental works of the High Baroque, they remained popular for decades, both as vehicles for the display of technique and as compositional models. Corelli himself was famous as a performer, and these sonatas call for a good deal of non-notated ornamentation.

This recording falls into several developing categories in its field. Violinist Stefano Montanari and the Accademia Bizantina use historical instruments. His Baroque violin is an abrasive but highly agile thing; you hear plenty of bow scraping across sheep intestine (or whatever), but there is no doubt that the virtuoso arpeggios of this music were intended for an instrument that let the bow wrap itself around the group of strings. The recording is, furthermore, an Italian historical-instrument performance, and like other such recordings that have come out of Italy in recent years, it has a fiery, rather extreme character. Montanari's added ornamentation is explosive and difficult, with something of a skittering quality; he is unquestionably a master of the Baroque violin. Yet another strongly defining characteristic of this recording is the use of a large continuo group, featuring violoncello piccolo (small cello), violone (a large bass viol), archlute or Baroque guitar, organ, and harpsichord. That seems like a lot, considering that the Italian title of Corelli's set of sonatas is "12 Sonate a Violino e Violone o Cimbalo" (12 Sonatas for violin and violone or harpsichord). But composers' and publishers' title pages did not always match what was played, and this approach has both advantages and disadvantages. The opening slow movements of the church sonatas on disc one are splendidly stately, and the whole performance seems to situate Corelli's style at its point of emergence from seventeenth century ensemble music -- other performances tend to take Vivaldi as a retrospective outlook point. On the other hand, the violin seems to compete with the ensemble at times. Sample a recording of the same works by Andrew Manze, with only a harpsichord accompaniment, for a completely different effect. The SACD sound of this 2002 recording is very much up close and personal: it is extremely detailed and resonant, but it picks up lots of extraneous noise from the instruments and the performers. One feels as though one is sitting in the front row of chairs in a drawing room in a mansion of Corelli's day -- and the recording as a whole is perhaps the most authentic available. ---James Manheim, Rovi

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Sonata Da Chiesa In G, Op 1 No 9 
1 	Allegro - Adagio 	1:16
2 	Allegro 	1:15
3 	Adagio 	1:34
4 	Allegro - Adagio 	1:16
Violin Sonata In C, Op 5 No 3 
5 	Adagio 	2:09
6 	Allegro 	2:05
7 	Adagio 	2:48
8 	Allegro 	1:03
9 	Allegro 	2:37
Sonata Da Camera In A, Op 4 No 3 
10 	Preludio (Largo) 	2:35
11 	Corrente (Allegro) 	1:26
12 	Sarabanda (Largo) 	1:36
13 	Tempo Di Gavotta (Allegro) 	1:19
Viola Da Gamba Sonata In D (Anonymous Arrangement Of Violin Sonata In E, Op 5 No 11)
14 	Preludio (Adagio) 	1:43
15 	Allegro 	2:42
16 	Adagio 	0:45
17 	Vivace 	1:44
18 	Gavotta (Allegro) 	0:45
19 	Sonata Da Camera In G (Ciaccona), Op 2 No 12 	2:54
20 	Violin Sonata In D Minor 'La Folia', Op 5 No 12 	9:58
Sonata Da Camera In E Minor, Op 2 No 4 	
21 	Preludio (Adagio) 	2:21
22 	Allemanda (Presto) 	1:00
23 	Grave - Adagio 	1:38
24 	Giga (Allegro) 	1:39
Sonata Da Chiesa In A, Op 3 No 12 
25 	Grave - Allegro - Adagio 	2:10
26 	Vivace 	1:01
27 	Allegro 	0:58
28 	Allegro 	1:23
29 	Allegro 	1:04

The Purcell Quartet:
Cello – Richard Boothby (tracks: 5 to 9, 20), Richard Campbell (tracks: 14 to 18)
Harpsichord, Organ [Chamber Organ] – Robert Woolley (tracks: 5 to 9, 14 to 18, 20)
Viol [Viola Da Gamba] – Richard Boothby (tracks: 14 to 18)
Violin – Catherine Mackintosh (tracks: 5 to 9), Elizabeth Wallfisch (tracks: 20)

Personal disclosure: for no defensible reason, of all the great composers, Corelli may be the most poorly represented on my shelves. Consequently, I was pleasantly surprised when this disc arrived from command central in Tenafly. And I’m even more pleased after listening to it. It’s not only a useful reminder of what I’ve been missing all along, but also a splendid demonstration of fine, spirited music-making. The members of the Purcell Quartet (Catherine Mackintosh and Elizabeth Wallfisch, violins, Richard Boothby, cello and viola da gamba, and Robert Woolley, harpsichord and chamber organ), joined by cellist Richard Campbell, are well acquainted with the idiom, and they play it with admirable finesse and infectious enthusiasm. I would have given Hyperion’s original 1986 release a warm recommendation; at Helios’s reduced fare it should be well nigh irresistible. ---FANFARE: George Chien, arkivmusic.com

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