Muzyka Klasyczna

Francesco Geminiani – Concerti Grossi Op.2 and Op.3 (1997)

2010-02-03T15:41:21Z

Francesco Geminiani – Concerti Grossi Op.2 and Op.3 (1997)


01. Concerto Grosso in C minor, Op. 2, No. 1: I. Andante
02. Concerto Grosso in C minor, Op. 2, No. 1: II. Allegro
03. Concerto Grosso in C minor, Op. 2, No. 1: III. Adagio
04. Concerto Grosso in C minor, Op. 2, No. 1: IV. Allegro

05. Concerto Grosso in C minor, Op. 2, No. 2: I. Adagio
06. Concerto Grosso in C minor, Op. 2, No. 2: II. Allegro
07. Concerto Grosso in C minor, Op. 2, No. 2: III. Adagio
08. Concerto Grosso in C minor, Op. 2, No. 2: IV. Allegro

09. Concerto Grosso in D minor, Op. 2, No. 3: I. Presto
10. Concerto Grosso in D minor, Op. 2, No. 3: II. Adagio
11. Concerto Grosso in D minor, Op. 2, No. 3: III. Allegro

12. Concerto Grosso in D major, Op. 2, No. 4: I. Andante
13. Concerto Grosso in D major, Op. 2, No. 4: II. Allegro
14. Concerto Grosso in D major, Op. 2, No. 4: III. Andante
15. Concerto Grosso in D major, Op. 2, No. 4: IV. Allegro

16. Concerto Grosso in D minor, Op. 2, No. 5: I. Adagio
17. Concerto Grosso in D minor, Op. 2, No. 5: II. Allegro
18. Concerto Grosso in D minor, Op. 2, No. 5: III. Andante
19. Concerto Grosso in D minor, Op. 2, No. 5: IV. Allegro

20. Concerto Grosso in A major, Op. 2, No. 6: I. Andante
21. Concerto Grosso in A major, Op. 2, No. 6: II. Allegro - Grave
22. Concerto Grosso in A major, Op. 2, No. 6: III. Allegro

23. Concerto Grosso in D major, Op. 3, No. 1: I. Adagio
24. Concerto Grosso in D major, Op. 3, No. 1: II. Allegro
25. Concerto Grosso in D major, Op. 3, No. 1: III. Adagio
26. Concerto Grosso in D major, Op. 3, No. 1: IV. Allegro

27. Concerto Grosso in G minor, Op. 3, No. 2: I. Largo e staccato
28. Concerto Grosso in G minor, Op. 3, No. 2: II. Allegro
29. Concerto Grosso in G minor, Op. 3, No. 2: III. Adagio
30. Concerto Grosso in G minor, Op. 3, No. 2: IV. Allegro

31. Concerto Grosso in E minor, Op. 3, No. 3: I. Adagio e staccato
32. Concerto Grosso in E minor, Op. 3, No. 3: II. Allegro
33. Concerto Grosso in E minor, Op. 3, No. 3: III. Adagio
34. Concerto Grosso in E minor, Op. 3, No. 3: IV. Allegro

35. Concerto Grosso in D minor, Op. 3, No. 4: I. Largo e staccato
36. Concerto Grosso in D minor, Op. 3, No. 4: II. Allegro
37. Concerto Grosso in D minor, Op. 3, No. 4: III. Largo
38. Concerto Grosso in D minor, Op. 3, No. 4: IV. Vivace

Capella Istropolitana
Jaroslav Krcek – conductor

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Geminiani - Concerti Grossi Op.7 (Brown) [1993]

2009-10-22T15:47:08Z

Geminiani - Concerti Grossi Op.7 (Brown) [1993]


1. Con Grosso No.6 in B flat: Allegro Moderato - Adagio/Andante/Andante/Grave...
2. Con Grosso No.5 in c: Andante/Allegro - Grave/Allegro
3. Con Grosso No.2 in d: Grave/Allegro Assai/Andante/Allegro
4. Con Grosso No.3 in C: Francese: Presto - Tempo Giusto/Inglese: Andante...
5. Con Grosso No.1 in D: Andante/L'Arte Della Fuga: Presto/Andante/Allegro Moderato
6. Con Grosso No.4 in d: Andante/Andante - Adagio/Allegro - Allegro - Adagio...

Academy of St. Martin-in-the-Fields
Iona Brown – conductor

The concerti are wonderful in themselves. The performances are a bit old-fashioned, but quite elegant-sounding. The main drawback is just flat-out terrible sound. The music sounds muted somehow as if the sound engineers just fiddled too much with it. Also, each concerto is on one track, which is just a dreadful habit that some record companies have. Still, I guess if you want to listen to these concerti you don't have much other choice than this recording. ---Alexander Mendez, amazon.com

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Geminiani - La Folia (1988)

2011-05-18T09:03:33Z

Geminiani - La Folia (1988)


1. Sonata No. 3 in F major: Sonata No. 3 in F major - Largo
2. Sonata No. 3 in F major: Sonata No. 3 in F major - Andante
3. Sonata No. 3 in F major: Sonata No. 3 in F major - Allegro
4. Concerto Grosso 'La Folia'
5. Sonata No. 3 in E minor op. 1 no 3: Sonata No. 3 in E minor op. 1 no 3 - Adagio - Allegro - Adagio
6. Sonata No. 3 in E minor op. 1 no 3: Sonata No. 3 in E minor op. 1 no 3 - Tempo giusto - Adagio
7. Sonata No. 3 in E minor op. 1 no 3: Sonata No. 3 in E minor op. 1 no 3 - Allegro
8. Sonata No. 5 in A minor: Sonata No. 5 in A minor - Spiritoso			play
9. Sonata No. 5 in A minor: Sonata No. 5 in A minor - Andante
10. Sonata No. 5 in A minor: Sonata No. 5 in A minor - Allegro
11. Sonata No. 6 in D minor - Andante
12. Sonata No. 6 in D minor: Sonata No. 6 in D minor - Allegro
13. Sonata No. 6 in D minor: Sonata No. 6 in D minor - Allegro
14. Sonata in A major op. 4 no 12: Sonata in A major op. 4 no 12 - Adagio - Presto
15. Sonata in A major op. 4 no 12: Sonata in A major op. 4 no 12 - Presto
16. Sonata in A major op. 4 no 12: Sonata in A major op. 4 no 12 - Presto
17. Concerto Grosso in G minor op 7 no 2: Concerto Grosso in G minor op 7 no 2 - Grave - Allegro
18. Concerto Grosso in G minor op 7 no 2: Concerto Grosso in G minor op 7 no 2 - Andante
19. Concerto Grosso in G minor op 7 no 2: Concerto Grosso in G minor op 7 no 2 – Allegro	play

Purcell Band, 
Purcell String Quartet,
Robert Woolley, Richard Boothby, Catherine Mackintosh

This is a reissue – and a welcome one – on Hyperion’s Helios label; it’s a collection of string pieces by the late Baroque composer Francesco Geminiani. First released twenty years ago, it makes a valid and representative introduction to some of the strengths of Geminiani. At the same time the selection highlights the skills and interpretative powers of performers, many of whom were just beginning to make names for themselves in the 1980s and are now firmly established as specialists in their fields. Indeed the Purcell Quartet was in the middle of a wider series of chamber music based on La Folia. Geminiani’s Concerto Grosso is actually the only work on this disc so based. It’s beautifully played here, though. There is energy, a sailing and uplifting movement in what’s already a lively and extrovert theme. The other Concerto Grosso, the G Minor Opus 7 number 2, is tackled just as stylishly and should convince anyone sceptical of Geminiani’s place in the canon that his blend of thematic thrift and apposite instrumentation admirably vindicates his champions’ faith in the composer’s inventiveness and technical adeptness.

There are three Trio Sonatas here. Number 3 in F Major seems at time to be holding back and has the most delightful, subtle melodies. Number 5 in A Minor has just as much sophistication, variety and emerges through gentle curves and swayings of sound; the opening movement has some exciting yet controlled counterpoint. And number 6 in D Minor has an almost Handelian middle movement and much uplifting yet not unserious ripieno and thrusting passages which reveal the beauty of these dedicated players’ string sound. The thing you’ll probably notice as you settle into the first few tracks is the sedate pace - a marked slowness of tempi. This is all to the good - for the unrushed unfolding of thematic ideas and supporting instrumentation allow the music to breathe, and every nuance to be fully audible. Indeed there is a dignity and gravitas to, for example, the F Major’s gentle statement and counter-statement; they make it sound more classical than spontaneous. Yet the execution here is far from predictable or dull. Similarly the gentle, walking pace with which each of the players sets out the theme of La Folia itself has the effect, almost, of a first time hearing. Most welcome.

Elizabeth Wallfisch hits some high spots and sends shivers down the spine with her performance of the Opus 1 number 3 solo sonata in E Minor; Catherine Mackintosh similarly does opus 4 number 12 proud – though with perhaps not quite the same self-confidence as Wallfisch. So there’s a pleasing array of textures, musical ideas and harmonic depth on this CD. It bears repeating that this is music originally meant for amateur, ‘local’ performance (and consumption). Its flavour has been suavely picked up and handled very well by these consummate professionals. The lasting impression remains of unspectacular detachment; the music is played with a generous seriousness that nevertheless never cloys nor draws attention to itself. It’s stately and almost regal at times. Maybe that’s chiefly because tempi are a tiny bit slower than we have become used to in intervening years. But really none the worse for that – we can savour every turn and phrase. The fact that these dozen accomplished musicians haven’t thereby rendered the music in any way ‘precious’ must originate in their evident exuberance, and enjoyment of knowing and presenting it.

There’s a genuineness and gentle familiarity in their playing that makes them superb ambassadors for what Geminiani was aiming at – and what he usually so successfully achieved: persuasive, thoughtful and accessible music of great originality and subtle beauty. Geminiani (who studied with Corelli in Rome) seems to have been a bit… ‘needy’ where conducting and organizing his own music was concerned; Burney put his failings down to a shaky sense of tempi! He was more adept at re-arranging (his) music when necessary – indeed it is the 1739 revision of his Opus 1 from 1716 that we hear on this CD. The musicians here play with never a hint of such shortcomings thereby lifting the music into a more refined, almost rarefied, sphere. But, again, this steadiness is a big plus where music of such delicacy is concerned. The liner notes are somewhat on the sparse side; the sound is more than adequate if a little closely recorded, and the quantity not all that generous at little more than 50 minutes. All in all this is a disc that can be thoroughly recommended. Listening to it carefully and with renewed attention (there’s always something new at each hearing… a delayed harpsichord entry, an apposite rallentando, a striking counterplay of closing chords) will bring hours of pleasure. ---Mark Sealey

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Geminiani - Six Sonatas for Guitar, Cello and Harpsichord (1979)

2009-10-22T15:49:14Z

Geminiani - Six Sonatas for Guitar, Cello and Harpsichord (1979)


1. Sonata No. 1 in C Major 8:30
2. Sonata No. 10 in G Minor 3:02
3. Sonata No. 2 in C Minor 9:50
4. Sonata No. 4 in D Minor 5:45
5. Sonata No. 6 in E Minor 5:30
6. Sonata No. 3 in D Major 11:02

Laszlo Szendrey Karper (Guitar)
Ede Banda (Cello)
Janos Sebestyen (Hapsichord)

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Geminiani – Concerti Grossi Op.3, 1 e 5 (2004)

2011-11-02T20:03:38Z

Geminiani – Concerti Grossi Op.3, 1 e 5 (2004)


1. Concerti Grossi dall' Op.3 di A. Corelli:
 n.1 in Fa maggiore: Grave	1:42
2. Concerti Grossi dall' Op.3 di A. Corelli:
 n.1 in Fa maggiore: Allegro	1:21
3. Concerti Grossi dall' Op.3 di A. Corelli:
 n.1 in Fa maggiore: Vivace	1:59
4. Concerti Grossi dall' Op.3 di A. Corelli:
 n.1 in Fa maggiore: Allegro	1:15
5. Concerti Grossi dall' Op.3 di A. Corelli:
 n.3 in Si b maggiore: Grave	1:29
6. Concerti Grossi dall' Op.3 di A. Corelli:
 n.3 in Si b maggiore: Vivace	0:34
7. Concerti Grossi dall' Op.3 di A. Corelli: 
n.3 in Si b maggiore: Largo	2:10	
8. Concerti Grossi dall' Op.3 di A. Corelli: 
n.3 in Si b maggiore: Allegro	1:52				play
9. Concerti Grossi dall' Op.3 di A. Corelli:
 n.4 in si minore: Largo		1:55
10. Concerti Grossi dall' Op.3 di A. Corelli:
 n.4 in si minore: Vivace	1:19
11. Concerti Grossi dall' Op.3 di A. Corelli:
 n.4 in si minore: Adagio	1:55
12. Concerti Grossi dall' Op.3 di A. Corelli:
 n.4 in si minore: Presto	1:03
13. Concerti Grossi dall' Op.3 di A. Corelli:
 n.9 in fa minore: Grave	2:01	
14. Concerti Grossi dall' Op.3 di A. Corelli:
 n.9 in fa minore: Vivace	0:58
15. Concerti Grossi dall' Op.3 di A. Corelli:
 n.9 in fa minore: Largo	1:30
16. Concerti Grossi dall' Op.3 di A. Corelli:
 n.9 in fa minore: Allegro	1:46
17. Concerti Grossi dall' Op.3 di A. Corelli:
 n.10 in la minore: Vivace	0:42
18. Concerti Grossi dall' Op.3 di A. Corelli:
 n.10 in la minore: Allegro	1:14
19. Concerti Grossi dall' Op.3 di A. Corelli:
 n.10 in la minore: Adagio	0:49
20. Concerti Grossi dall' Op.3 di A. Corelli:
 n.10 in la minore: Allegro	1:43
21. Concerti Grossi dall' op.1 di A. Corelli:
 n.9 in Sol maggiore: Allegro	1:08
22. Concerti Grossi dall' op.1 di A. Corelli:
 n.9 in Sol maggiore: Adagio - Allegro	1:34
23. Concerti Grossi dall' op.1 di A. Corelli:
 n.9 in Sol maggiore: Adagio	1:38				play	
24. Concerti Grossi dall' op.1 di A. Corelli:
 n.9 in Sol maggiore: Allegro	1:31
25. Concerti Grossi dall' op.5 di A. Corelli:
 n.1 in Re maggiore: Grave - Allegro	2:28	
26. Concerti Grossi dall' op.5 di A. Corelli:
 n.1 in Re maggiore: Allegro	2:04
27. Concerti Grossi dall' op.5 di A. Corelli:
 n.1 in Re maggiore: Adagio	2:39	
28. Concerti Grossi dall' op.5 di A. Corelli:
 n.1 in Re maggiore: Allegro	1:29	
29. Concerti Grossi dall' op.5 di A. Corelli:
 n.3 in Do maggiore: Adagio	2:18
30. Concerti Grossi dall' op.5 di A. Corelli:
 n.3 in Do maggiore: Allegro	1:54
31. Concerti Grossi dall' op.5 di A. Corelli:
 n.3 in Do maggiore: Adagio	3:08
32. Concerti Grossi dall' op.5 di A. Corelli:
 n.3 in Do maggiore: Allegro	2:12

Ensemble Resonanz
Violini: Carlo Chiarappa, Dominique ChiarappaZryd, Sabine Brodbeck
Violoncello: Martin Zeller
Clavicembalo: Stefano Demicheli
Tiorba: DiegoCantalupi

Violini: Sylvia Gmür, Daniela Beltraminelli, Dominique ChiarappaZryd, Denise Gruber, Sabine Brodbeck
Viola: Svetlana Fomina
Violoncello: Michaël Chiarappa
Contrabbasso: Roberto Bevilacqua
Organo: Andrea Perugi

Francesco Saverio Geminiani (5 December 1687 – 17 September 1762) was an Italian violinist, composer, and music theorist. Born at Lucca, he received lessons in music from Alessandro Scarlatti, and studied the violin under Carlo Ambrogio (Ambrosio) Lonati in Milan and afterwards under Arcangelo Corelli. From 1707 he took the place of his father in the Cappella Palatina of Lucca. From 1711, he led the opera orchestra at Naples, as Leader of the Opera Orchestra and concertmaster, which gave him many opportunities for contact with Alessandro Scarlatti. After a brief return to Lucca, in 1714, he set off for London, where he arrived with the reputation of a virtuoso violinist, and soon attracted attention and patrons, including William Capel, 3rd Earl of Essex, who remained a consistent patron. In 1715 Geminiani played his violin concerti for the court of George I, with Handel at the keyboard.

Geminiani made a living by teaching and writing music, and tried to keep pace with his passion for collecting by dealing in art, not always successfully. Many of his students went on to have successful careers such as Charles Avison, Matthew Dubourg, Michael Christian Festing, Bernhard Joachim Hagen, and Cecilia Young.

After visiting Paris and residing there for some time, he returned to England in 1755. In 1761, on one of his sojourns in Dublin, a servant robbed him of a musical manuscript on which he had bestowed much time and labour. His vexation at this loss is said to have hastened his death.

He appears to have been a first-rate violinist. His Italian pupils reportedly called him Il Furibondo, the Madman, because of his expressive rhythms. He is best known for three sets of concerti grossi, his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746), (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition. Geminiani also reworked a group of violin sonatas from his teacher Corelli into concerti grossi.

His Art of Playing the Violin published in London (1751) is the best-known summation of the 18th century Italian method of violin playing, and is an invaluable source for study of late Baroque performance practice, giving detailed information on vibrato, trills, and other violin techniques. His Guida harmonica (c.1752, with an addendum in 1756) is one of the most unusual harmony treatises of the late Baroque, serving as a sort of encyclopedia of basso continuo patterns and realizations. There are 2236 patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.

Geminiani published a number of solos for the violin, three sets of violin concerti, twelve violin trios, The Art of Accompaniment on the Harpsichord, Organ, etc. (1754), Lessons for the Harpsichord, Art of Playing the Guitar (1760) and some other works. ---wiki

Francesco Geminiani (ur. 5 grudnia 1687 w Lucce, zm. 17 września 1762 w Dublinie) był włoskim barokowym kompozytorem, skrzypkiem i teoretykiem muzyki. Geminiani był przede wszystkim wirtuozem skrzypiec, jego uczniowie nazywali go Il Furibondo – szaleniec. Sam uczył się gry i komponowania u Scarlattiego, Lonatiego i Corelliego. Od roku 1711 był kapelmistrzem w Neapolu. W 1714 roku wyjechał do Londynu, gdzie został protegowanym Williama Capela, 3. hrabiego Essex. W roku 1715 grał wspólnie z Georgiem Friedrichem Händlem dla dworu Jerzego I Hanowerskiego. Grającemu na skrzypcach Geminianiemu akompaniował Händel na klawesynie. Obaj kompozytorzy cenili się nawzajem i przyjaźnili.

Geminiani żył w Londynie komponując i grając, zajmował się także kolekcjonowaniem dzieł sztuki. Po wieloletnim pobycie w Paryżu, powrócił do Londynu w 1755. W 1761 roku podczas wizyty w Dublinie służący skradł mu partyturę utworu, nad którym Geminiani długo pracował. Stratę rękopisu Geminiani przeżył tak głęboko, że odbiło się to na jego zdrowiu i miało stać się przyczyną wcześniejszej śmierci.

Geminiani był autorem wielu concerti grossi. W 1751 roku w Londynie ukazała się jego Art of Playing the Violin. Był też autorem Guida harmonica oraz Art of Playing the Guitar. ---wiki

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Geminiani: La Foresta Incantata - Traetta: Armida (2003)

2009-10-22T15:51:22Z

Geminiani: La Foresta Incantata - Traetta: Armida (2003)


1-19- Geminiani: The Inchanted Forest. An Instrumental Composition Expressive of the same Ideas as the Poem of Tasso of that Title.
Traetta: Armida:
20-22- Sinfonia
23- Recitativo accompagnato di Rinaldo "O portento, o stupor! Qual lieto albergo"
24- Aria di Rinaldo "Di quest'aura, di quest'onda"
25- Recitativo accompagnato di Armida "Pur una volta alfine"
26- Aria di Armida "Mori, sì, mori, oh Dio"

Cinzia Forte, soprano (Armida)
Anna Bonitatibus, mezzosoprano (Rinaldo)
Cosarara
Giuseppe Camerlingo - conductor

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