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Track(s) taken from CKD413

Sonata da camera in A major, Op 4 No 3

composer
1694; dedicated to Cardinal Ottoboni

The Avison Ensemble
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Recording details: January 2012
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: September 2013
Total duration: 8 minutes 30 seconds

Cover artwork: Angel at La Recoleta Cemetary in Buenos Aires by Neale Cousland
 
1
Preludio: Largo  [3'35]
2
3
Sarabanda: Largo  [1'46]
4

Other recordings available for download

The Purcell Quartet

Reviews

'The Avison Ensemble continue their stunning Corelli anniversary recording project with two of the less-often-recorded opuses, the 'sonate da camera'. These performances occupy fresh ground—intimately styled and seemingly less obviously inspired by public performance than previous recordings … Pavlo Beznosiuk and The Avison Ensemble have clearly given much thought and attention to their performances: beautifully understated, and allowing the music to speak for itself. The tempi are relaxed without compromising a sense of line, imparting instead a breadth that suggests to us an expression of Corelli's life and times … we look forward to the imminent release of Opp 1 and 3' (Gramophone)» More

'The [Avison Ensemble's] series so far has produced fine accounts of the Concerti Grossi Op 6 and the Violin Sonatas Op 5. The latest two-disc set features the Trio Sonata collections Opp 2 and 4, kaleidoscopic works that mingle vigorous and elegant dances, hypnotic variations like the ‘Ciaconna' that concludes the Op 2 set, ornamental slow movements, capricious Allegros and more serious fugal writing … the Avison Ensemble captures their essence in graceful, finely controlled performances—by turns lyrical, fleet, playful, imbued with an effortless style that eschews mannerisms and fireworks but rather lets the music speak for itself. The string sound is silky and clean; the ensemble neat and subtly articulated' (BBC Music Magazine)» More

'The virtues of the Avison group are once again on full display here; the players achieve a sparkling liveliness in the fast movements that few other groups seem to manage with period strings' (AllMusic, USA)» More

When his patron Pamphili moved to Bologna in 1690, Corelli was taken up by the young Cardinal Ottoboni and took part in the famous academies held in the Ottoboni Palace every Monday evening. To Ottoboni was dedicated another set of Sonate da camera (Op 4, 1694). (It says something for the temporal aspiration of the Princes of the Church in Rome at that time that Corelli’s church sonatas all had secular dedicatees while the Cardinals seem to have preferred chamber sonatas.) Op 4 No 3 opens with a Preludio built over a sturdy bass line. This is followed by three dances which are as unlike their French counterparts (courante, sarabande and gavotte) as one could wish.

from notes by Tim Crawford © 1987

Quand son mécène Pamphili s’installa à Bologne, en 1690, Corelli entra au service du cardinal Ottoboni et participa aux fameuses académies que ce jeune prélat organisait chaque lundi soir dans son palais—il fut d’ailleurs le dédicataire d’une autre série de Sonate da camera (op. 4, 1694). (Signe de l’aspiration temporelle des princes de l’Église, à Rome, les sonates da chiesa corelliennes eurent toutes des dédicataires séculiers, les cardinaux leur ayant manifestement préféré les sonates de chambre.) L’op. 4 no 3 commence par un Preludio bâti sur une ligne de basse robuste. Viennent ensuite trois danses aux antipodes de leurs équivalents français (courante, sarabande et gavotte).

extrait des notes rédigées par Tim Crawford © 1987
Français: Hypérion

Als Corellis Mäzen Pamphili 1690 nach Bologna zog, wurde der Komponist vom jungen Kardinal Ottoboni übernommen und nahm an den berühmten Akademien teil, die jeden Montagabend in Ottobonis Palazzo stattfanden. Ottoboni ist der Widmungsträger von Corellis nächster Kammersonatensammlung (op. 4, 1694). (Die Tatsache, das Corellis Kirchensonaten alle weltliche Widmungsträger vorweisen, während die Kardinäle Kammersonaten bevorzugt zu haben scheinen, sagt einiges über die weltlichen Aspirationen der Kirchenfürsten in Rom zu jener Zeit aus.) Op. 4 Nr. 3 beginnt mit einem sich über einer robusten Basslinie entfaltenden Preludio. Ihm schließen sich drei Tänze an, die sich von ihren französischen Vorbildern (Courante, Sarabande und Gavotte) nicht stärker distanzieren könnten.

aus dem Begleittext von Tim Crawford © 1987
Deutsch: Elke Hockings

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CDH55240Helios (Hyperion's budget label)
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