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Track(s) taken from CKD414

Sonata da chiesa in G major, Op 1 No 9

1681; dedicated to Queen Christina of Sweden

The Avison Ensemble
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: May 2014
Total duration: 6 minutes 4 seconds

Other recordings available for download

The Purcell Quartet


'The music is intimate and personal. Arresting ideas dart around in the faster movements, while the slower ones are characterised by their expressive sequences and suspensions. The illustrious five players of The Avison Ensemble offer shapely readings, phrasing beautifully and making the most of every nuance' (The Sunday Times)» More
The Sonata in G major Op 1 No 9 opens with a ‘call to attention’ and triplet flourishes over a held chord. Broken-chord figurations form the basis of the short Allegro that follows before the flourishes return, this time in the dominant. The central lyrical Adagio in sarabande rhythm is sandwiched between two fugal movements, the second based on the same broken-chord idea.

from notes by Tim Crawford © 1987

La Sonate en sol majeur, op. 1 no 9 s’ouvre sur un «appel à l’attention» et sur des fioritures en triolets par-dessus un accord tenu. Des figures en accords arpégés constituent le socle du court Allegro qui suit, avant le retour des fioritures, cette fois à la dominate. L’Adagio lyrique central en rythme de sarabande est pris en sandwich entre deux mouvements fugués, le second reposant sur l’idée en accords arpégés de l’Allegro.

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

Die Sonate in G-Dur op. 1 Nr. 9 beginnt mit einem „Aufruf“, wo sich Triolen sich über einen ausgehaltenen Akkord ergießen. Ein Spielwerk aus gebrochenen Akkorden bildet die Grundlage des kurzen Allegros, das darauf folgt, bevor die gebrochenen Akkorde wieder zurückkehren, diesmal in der Dominante. Das in der Mitte erklingende lyrische Adagio im Sarabandenrhythmus wurde zwischen zwei fugenähnliche Sätze geschoben, von denen der zweite auf dem gleichen musikalischen Gedanken aus gebrochenen Akkorden beruht.

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

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