The Spaniard Lulier and Corelli frequently collaborated in the production of oratorios, Lulier providing the vocal music and Corelli the sinfonias. One such collaboration was
S Beatrice d’Este, performed in Roma and Modena in 1689; Corelli’s Op 3 set of
Sonate da chiesa was dedicated to the Duke of Modena in the same year. These are more elaborate than the first set, exploiting the virtuosity of the players of all three instruments. The extended opening flourishes of Op 3 No 12, over long held ‘pedal’ notes, are a violinistic interpretation of the style of the organ toccata; these give way to a short
Adagio where the typical Corellian ‘walking bass’ makes a brief appearance. Then comes a
Vivace, in which the cello shows its paces and an
Allegro in which the violinists do the same; the sonata ends with an exciting fugue.
from notes by Tim Crawford © 1987
