Violin Concerto No. 1 in D
1. (4:44) Allegro
2. (5:38) Largo
3. (5:35) Allegro

Violin Concerto No. 8 in E minor
1. (6:04) Andante
2. (4:10) Largo
3. (5:18) Allegro

Violin Concerto No. 9 in G
1. (6:49) Allegro
2. (5:38) Largo
3. (6:45) Allegro

Roberto Michelucci – violin
I Musici

When considering the first set of compositions designed to truly extend and test the technical limits of the violin, most would first consider the 24 Caprices of Paganini. However, more than a century before Paganini was even thought of, Italian composer Pietro Locatelli was pushing the violin to its limits with his four concertos of Opus 3, subtitled the "Art of the Violin." These works were innovative in nearly every way conceivable. Even the form of the concertos was atypical; Locatelli abandoned the traditional three-movement format and included two caprices. From a technical standpoint, the concertos stretch the range of the violin to its limit and demand bow techniques and finger dexterity simply unheard of. Of course, all of these challenges mean nothing if the works are not given musically fulfilling performances. --- Mike D. Brownell, Rovi

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  	Concerto XI A Quattro En Ut Mineur
1 		Largo 	2:30 	
2 		Allemanda. Allegro 	2:42 	
3 		Sarabanda. Largo 	2:24 	
4 		Giga. Allegro 	2:39 	
  	Concerto VIII "Pastorale" A Cinque En Fa Mineur
5 		Largo. Grave 	2:27 	
6 		Vivace 	1:28 	
7 		Grave 	2:20 	
8 		Largo Andante 	2:39 	
9 		Andante 	1:48 	
10 		Pastorale Ad Libidum Obbligata Con Tutto Il Concerto Grosso. Largo Andante 	3:39 	
  	Concerto VII A Cinque En Fa Majeur
11 		Allegro 	2:06 								play	
12 		Largo 	3:13 	
13 		Allegro 	2:41 	
  	Concerto II A Quatro En Ut Mineur
14 		Adagio 	1:58 	
15 		Allegro 	2:09 	
16 		Largo 	2:09 	
17 		Allegro 	1:13 	
18 		Allegro 	2:20 	
  	Concerto IX A Quttro En Ré Majeur
19 		Allegro 	1:56 	
20 		Largo 	0:52 	
21 		Allemanda. Allegro 	2:06 						play	
22 		Sarabanda. Largo 	3:05 	
23 		Allegro 	3:05 	
  	Concerto IV A Quattro En Mi Mineur
24 		Adagio 	2:11 	
25 		Allegro 	2:01 	
26 		Largo 	1:13 	
27 		Allegro 	1:59 	

Freiburger Barockorchester 
Gottfried Von Der Goltz – conductor. 2004

There is absolutely nothing here to criticize. The Freiburg Baroque Orchestra is one of the premier ensembles of its type, and it performs this music on top form. Locatelli's Op. 1 is nicely varied as to content, particularly in this selection. Only one concerto (No. 7) follows Vivaldi's three-movement "Venetian" form; the remainder are modeled on Corelli's concerti grossi and have four or five movements apiece. Locatelli's "sarabandas" are particularly lovely, and they are enhanced by the characterfully varied treatment of the continuo throughout these performances. Concerto No. 8 is a "pastoral", as in Corelli's famous Christmas Concerto, while four of the six works featured here employ minor keys, which only heightens the music's expressive intensity. In short, you won't find a better-chosen, more appealing selection of high Baroque concertos anywhere, and the engineering is typically splendid. For fans of the period, this is self-recommending. --David Hurwitz, ClassicsToday.com

While I did find the music and performance on this CD enjoyable, a note of caution if you purchase it based on the back cover's notes. While the back of the CD cover does advertise this CD as music by a "Baroque Paganini", the liner notes as well as the music contradict this description. The music is by turns lush, energetic and somber and beautifully played, but it is all in style and manner extremely reminiscent of Corelli's reserved, modest concerti grossi. As it turns out, this is Locatelli's early music, and the daring figures and techniques the back cover mentions did not figure prominentely until Locatelli's later works, which are NOT featured on this CD.

In short, if you are looking for variations on Corelli's beautiful if somewhat reserved music, incorporating a slightly larger concertino group and occasionally some darker orchestral colors, you'll enjoy this CD. For more innovative Baroque violin music, let ME know what Locatelli's later music is like, or stick with good old Vivaldi. --- M. Figg (USA), amazon.com

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Introduttione Teatrale No.1 in D major, Op. 4/1
Introduttione Teatrale No.2 in F major, Op. 4/2
Introduttione Teatrale No.3 in B flat major, Op. 4/3
Introduttione Teatrale No.4 in G major, Op. 4/4
Introduttione Teatrale No.5 in D major, Op. 4/5
Introduttione Teatrale No.6 in C major, Op. 4/6
Sonata for violin & continuo in D major, Op. 8/2
Sonata for 2 violins (or flutes) & continuo in E minor, Op. 5/2
Sonata for 2 violins & continuo in A major, Op. 8/10

Freiburg Baroque Orchestra
Thomas Hengelbrock - conductor

Locatelli is, of course, an exceptionally tasty sheep's milk cheese related to Romano, but he was also a very important and talented composer of violin music. Later generations looked back at him as the "Baroque Paganini," and his music abounds in technical difficulties and flashy writing for the soloist. Of course, instrumental virtuosity alone doesn't make a great composer, but in this collection of concertos and orchestra suites we see that the challenge of writing other types of music didn't faze Locatelli composer one bit. The so-called "Theatrical Introductions" are what we now call "overtures" or "suites," consisting largely of dance movements arranged in a pleasing sequence. The whole collection is expertly performed by this excellent "authentic" instrument group. --David Hurwitz

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Disc: 1 
1. Sonata for flute & continuo in C major, Op. 2/1: Andante 
2. Sonata for flute & continuo in C major, Op. 2/1: Adagio 
3. Sonata for flute & continuo in C major, Op. 2/1: Presto 
4. Sonata for flute & continuo in D major, Op. 2/2: Largo 
5. Sonata for flute & continuo in D major, Op. 2/2: Allegro 
6. Sonata for flute & continuo in D major, Op. 2/2: Andante 
7. Sonata for flute & continuo in D major, Op. 2/2: Presto 	
8. Sonata for flute & continuo in B flat major, Op. 2/3: Andante 
9. Sonata for flute & continuo in B flat major, Op. 2/3: Largo 
10. Sonata for flute & continuo in B flat major, Op. 2/3: Presto 
11. Sonata for flute & continuo in G major, Op. 2/4: Adagio 
12. Sonata for flute & continuo in G major, Op. 2/4: Allegro 
13. Sonata for flute & continuo in G major, Op. 2/4: Largo 
14. Sonata for flute & continuo in G major, Op. 2/4: Allegro 
15. Sonata for flute & continuo in D major, Op. 2/5: Vivace 
16. Sonata for flute & continuo in D major, Op. 2/5: Largo 
17. Sonata for flute & continuo in D major, Op. 2/5: Allegro 
18. Sonata for flute & continuo in G minor, Op. 2/6: Largo 
19. Sonata for flute & continuo in G minor, Op. 2/6: Allegro 
20. Sonata for flute & continuo in G minor, Op. 2/6: Largo 
21. Sonata for flute & continuo in G minor, Op. 2/6: Allegro

Disc: 2 
1. Sonata for flute & continuo in A major, Op. 2/7: Largo 
2. Sonata for flute & continuo in A major, Op. 2/7: Allegro 
3. Sonata for flute & continuo in A major, Op. 2/7: Largo 
4. Sonata for flute & continuo in A major, Op. 2/7: Allegro 
5. Sonata for flute & continuo in F major, Op. 2/8: Largo 
6. Sonata for flute & continuo in F major, Op. 2/8: Vivace 	
7. Sonata for flute & continuo in F major, Op. 2/8: Cantabile 
8. Sonata for flute & continuo in F major, Op. 2/8: Allegro 
9. Sonata for flute & continuo in E major, Op. 2/9: Andante 
10. Sonata for flute & continuo in E major, Op. 2/9: Largo 
11. Sonata for flute & continuo in E major, Op. 2/9: Allegro 
12. Sonata for flute & continuo in G major, Op. 2/10: Largo 
13. Sonata for flute & continuo in G major, Op. 2/10: Allegro 
14. Sonata for flute & continuo in G major, Op. 2/10: Minuetto 
15. Sonata for flute & continuo in D major, Op. 2/11: Largo 
16. Sonata for flute & continuo in D major, Op. 2/11: Andante 
17. Sonata for flute & continuo in D major, Op. 2/11: Adagio 
18. Sonata for flute & continuo in D major, Op. 2/11: Vivace 
19. Sonata for flute & continuo in G major, Op. 2/12: Largo 
20. Sonata for flute & continuo in G major, Op. 2/12: Vivace 
21. Sonata for flute & continuo in G major, Op. 2/12: Allegro 
22. Sonata for flute & continuo in G major, Op. 2/12: Presto

Disc: 3 
1. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & continuo, Op. 5/1: Andante 
2. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & continuo, Op. 5/1: Largo andante 
3. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & continuo, Op. 5/1: Allegro 
4. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & continuo, Op. 5/1: Vivace 
5. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E minor,
 for two traversi & continuo, Op. 5/2: Largo 
6. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E minor,
 for two traversi & continuo, Op. 5/2: Andante 
7. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E minor,
 for two traversi & continuo, Op. 5/2: Allegro 
8. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E minor,
 for two traversi & continuo, Op. 5/2: Allegro 
9. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E major,
 for two traversi & continuo, Op. 5/3: Andante
10. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E major,
 for two traversi & continuo, Op. 5/3: Largo 
11. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E major,
 for two traversi & continuo, Op. 5/3: Allegro 
12. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in E major,
 for two traversi & continuo, Op. 5/3: Vivace 	
13. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in C major,
 for traverso, violin & continuo, Op. 5/4: Largo 
14. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in C major,
 for traverso, violin & continuo, Op. 5/4: Andante 
15. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in C major,
 for traverso, violin & continuo, Op. 5/4: Allegro 
16. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in D minor,
 for two traversi & continuo, Op. 5/5: Largo 
17. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in D minor,
 for two traversi & continuo, Op. 5/5: Vivace
18. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in D minor,
 for two traversi & continuo, Op. 5/5: Pastorale 
19. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & double continuo, Op. 5/6: Largo an 
20. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & double continuo, Op. 5/6: Vivace 
21. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & double continuo, Op. 5/6: Gavotta 
22. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & double continuo, Op. 5/6: Largo 	
23. Sonatas (6) for 2 violins (or flutes) & continuo, Op. 5: Sonata in G major,
 for traverso, violin & double continuo, Op. 5/6: Minuetto

Jed Wentz, traverse flute
Musica Ad Rhenum:
Norbert Kunst - bassoon
Job ter Haar - cello
Marcelo Bussi - harpsichord, organ
Willem Kroesbergen - hapsichord maker
 

Locatelli was one of the leading Italian violinists and composers in the first half of the eighteenth century. At one time, he was known as the "Paganini of the eighteenth century" due to his 12 concertos and 24 caprices for violin. Although he was known primarily as a virtuoso violinist in the early part of his life, his abilities as a composer were far more important. Stylistically, Locatelli worked within the conservative forms of the composers of the Roman school (Corelli, for example), but incorporated many of the more progressive elements of the Venetian school (Vivaldi, above all). He wrote mostly sonatas and concertos for string instruments, although there is a set of flute sonatas, and a lost concerto for wind instruments with strings. With the exception of those flute sonatas, Opus 2, which occasionally have three movements, his other works were almost exclusively in the older four-movement format. Locatelli also made the written-out cadenza a standard part of his violin concertos, an innovation from the earlier practice of exclusively improvised cadenzas. In general, though, his style was a consolidation of existing trends, yet still original in the beauty and resourcefulness of its harmonies.

Very little is known about Locatelli's early life and training, other than that he held a post as violinist in Bergamo until 1711. By 1712, he was in Rome, probably studying with Giuseppe Valentini, Corelli's rival. During the subsequent years, Locatelli worked exclusively as a violinist, particularly at the basilica of St. Lorenza in Damaso, Italy. In 1725, he was appointed virtuoso da camera of Mantua, a position which allowed him free rein to travel as a virtuoso.

In 1729, Locatelli moved permanently to Amsterdam, where he devoted his attention to teaching and composing with an occasional concert tour. He was also involved in importing Roman violin strings and in publishing. By his death in 1764, Locatelli had been successful enough to leave behind a considerable estate, as well as a compositional legacy that remained fairly current until the beginning of the next century. ---arkivmusic.com

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