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The Cello in Baroque Italy Gabrielli · Geminiani · Vivaldi The Cello in Baroque Italy The Cello in Baroque Italy The Beginnings The Flowering CD 1 CD 2 Domenico Gabrielli (1659-1690) 18 Allegro 1:53 Antonio Vivaldi (1678-1741) Francesco Geminiani Sonata in G minor 19 Largo 1:13 Sonata in E minor RV 40 Sonata No. 3 in C major 1 Grave (Presto, Adagio) 1:26 20 Allegro 1:22 1 Largo 4:37 13 Andante 1:49 2 Allegro 1:23 2 Allegro 2:52 14 Allegro 4:03 3 Largo 1:45 3 Largo 3:28 15 Affetuoso 3:37 4 Prestissimo 0:45 Giovanni Battista Bononcini (1670-1747) 4 Allegro 2:25 16 Allegro 2:55 5 Ricercar I 2:05 Sonata in A minor for two violoncellos 6 Ricercar II 8:18 21 Andante 2:45 Francesco Geminiani (1687-1762) Francesco Geminiani 7 Canon à due violoncelli, uno entra 2:15 22 Allegro 1:22 Sonata No. 6 in A minor Sonata No. 2 in D minor 23 Minuetto I (Grazioso) Minuetto II 4:32 una battuta doppo l‘altro 5 Adagio 0:53 17 Andante 2:19 8 Ricercar VII 5:25 6 Allegro assai 3:21 18 Presto 2:26 9 Ricercar VI 3:22 Alessandro Scarlatti (1660-1725) 7 Grave 0:34 19 Adagio 0:51 10 Ricercar III 3:21 Sonata in D minor 8 Allegro 4:00 20 Allegro 5:53 Sonata in A major 24 Largo 1:06 11 Grave 1:12 25 Allegro 1:14 Antonio Vivaldi Antonio Vivaldi 12 Allegro 1:00 26 Largo 1:10 Sonata in B flat major RV 46 Sonata in G minor RV 42 13 Largo 2:10 27 A Tempo Giusto 0:26 9 Largo 2:59 21 Preludio (Largo) 3:02 14 Presto 0:53 10 Allegro 2:49 22 Allemande (Andante) 3:42 15 Ricercar IV 4:07 11 Largo 3:17 23 Sarabande (Largo) 3:14 16 Ricercar V 1:44 Willem de Fesch (1687-1761) 12 Allegro 2:48 24 Gigue (Allegro) 2:30 Sonata in A minor, Op. 13, no. 6 Benedetto Marcello (1686-1739) 28 Larghetto 1:59 Sonata in G minor, Op. 2, no. 4 29 Alla Breve 1:46 Roel Dieltiens violoncello 17 Adagio 1:28 30 Allegro 2:08 Richte van der Meer violoncello continuo [CD 1; CD 2: 5-8, 13-20] Anthony Woodrow double bass [CD 2: 1-4, 9-12, 21-24] Konrad Junghänel theorbo [CD 1] Robert Kohnen harpsichord [CD 1 & CD 2: 5-8,13-20], organ [CD 2: 1-4, 9-12, 21-24] EngLISH EngLISH These two sonatas are the very first for cello solo When one compares these two little sonatas with the The Cello in Baroque Italy (c.1689). Gabrielli himself was a brilliant cellist. At virtuosity of the 18th century, they stand out by their the age of 17 he became a member of the Accademia sober simplicity. They possess equally a sort of pure Filarmonica of Bologna (he entered in 1676 and be- beauty, and, typically Bolognese, a fascinating sense I. The Beginnings a more ample and rich sonority. This novelty seems came president in 1683). His talent apparently made of the melodic line. One of the best ways of exploiting at first to have spread in the Bologna region, as is him so indispensable that, dismissed from his post as the full sonority peculiar to the middle register of the Compared to the evolution of the violin, it seems shown by the appearance in 1665 of the sonata op. first cello for having infringed the strict rules of the cello would be to play the continuo part on the organ; strange that the cello took so long to make its mark IV by Giulio Cesare Arresti, the first work to use the chapel, he was re-engaged in spite of his indiscipline. this part, except in church concerts, is often taken by as a solo instrument. It already existed in the mid- term violoncello. Following this publication, it was After a certain time he finally opted for the post of a violone or a second cello doubled with a theorbo dle of the 16th century, as part of the violin family, also in Bologna that the first works expressly for musician and composer to the court of Modena, (the last option has been chosen for this recording). where it provided the bass. It was the trend toward cello solo appeared. where he was given the surname of ‘Minghain dal The very reverberant acoustic, which largely rules liturgical music (Gabrielli) and opera (Monteverdi) CD 1 concentrates with Domenico Gabrielli on Viulunzel’ (diminutive of Domenico, alluding to his in the Emilian churches , explains the frequent use which introduced the violins, the sopranos at first the first generation of cellists and composers who youth; he died when barely 31 years old). of simple harmony and dactylic rhythms, typical of and then the other members of the family, to the appeared after the birth of this new literature, a Judged from a purely cellistic and historical point trumpet tunes, in these essentially liturgical composi- upper strata of society. The basse de violon or basso generation that spread the fame of the instrument of view - these works being the first step towards tions. With his Canon a due violoncelli, uno entra una di viola da braccio was for a long time confined to throughout Europe, and included the following the Solo Cello Suites of J. S. Bach – the compositions battuta doppo l‘altro, which is a piece written in a the role of accompaniment and padding, with oc- musicians: Giovanni Battista Bononcini who went of Gabrielli possess great musical qualities. In fact, strictly contrapuntal style, we have encompassed the casional more concertante contributions. For such a from Bologna to Vienna and Berlin, then pushed on while they appear improvisatory, the Ricercari are entire cello repertory of Gabrielli. relatively low tessitura this bass violin was rather too to London before finally returning to Vienna, via solidly and logically constructed. In adopting the Out of respect for the title, 6 Solos for two Violon- small; that is why, during the first half of the 17th Paris and Lisbon, Benedetto Marcello who stayed in highly developed style of the church sonata Ricercar cellos, the version of this sonata for two cellos by century, two different formats were devised, both Venice, and Willem de Fesch, who worked in Am- No. 2 recalls the Ricercari of Giovanni Battista degli Giovanni Battista Bononcini (1670-1747) is given for the alto. There existed from that time on a large sterdam, Antwerp and London. The first players of Antonii (1636-1698), while the masterly Ricercar without harpsichord accompaniment. In fact, despite instrument called the violone, (great viola braccio) the basso de violon who used this ‚new‘ violoncello No. 7 exudes a greater freedom and inspiration. the figures given in the second cello part, it is true producing a lovely full sound, but inconvenient to were also members of the Cappella Musicale of the Sometimes with a somewhat didactic spirit and to the period to play them in this way. If Bononcini play, and a smaller instrument, the violoncino (or basilica of San Petronio in Bologna from 1665 to rather precociously, Gabrielli used purely technical was largely responsible for the spread of the cello, little violone). While having the advantage of great 1700. Among the names mentioned in the archives elements like big intervals in Ricercar No. 5 or the it is without doubt thanks to his visits throughout handiness, the sound of the latter instrument left we find those of Giovanni Battista Vitali, Petronio passages of double stopping in Ricercar No. 6. As for Europe and to his enormous success as a composer of much to be desired in the low register. About the year Franceschini, Domenico Gabrielli, Giuseppe Maria the two sonatas with bass continuo these are clearly cantatas and oratorios. After studying with Gabrielli 1660, the means of remedying this weak point were Jacchini and Giovanni Battista Bononcini. worked in a less horizontal manner. Written in the in Bologna, he distinguished himself by introducing discovered. A silver thread was wound round the gut The Biblioteca Estense of Modena holds two manu- style of the traditional Bolognese sonata da chiesa, certain technical innovations among which were the of the two bass strings of the violoncino (hence the scripts in which several works by Domenico Gabrielli (in four movements with different tempi and time establishment of a uniform tuning C-G-d-a (whereas term, spun strings). This instrument, which already (1659-1690) are found: seven Ricercari, the Canon signatures) they are similar to the sonatas that we Gabrielli had still often tuned the highest string to lent itself to virtuoso playing, was thus provided with for two cellos and two sonatas with bass continuo. know of Maurizio Cazzati or Vitali. c) and the borrowing of certain technical aspects of 4 5 EngLISH EngLISH the violin and the viola da gamba for both right and With the Sonata in D minor, definitely attributed The Art of playing the Violin consists in giving that Geminianis Opus V, his Sonates Pour le Violoncelle left hand. These modifications made a great impact, to Alessandro Scarlatti (1660-1725) in the modern Instrument a Tone that shall in a manner rival et Basse Continue , were published simultaneously especially in France. editions, we are confronted with the problem of its the most perfect human Voice; and in executing in The Hague and Paris in 1746. They were dedicated Bononcini adapted a direct style, comparable with origin, a problem which has still not been resolved.

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