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Arcangelo Corelli Solos and Concertos Estro Cromatico Fitted for the Flutes Marco Scorticati Arcangelo Corelli Tracklist ⁄ English ⁄ Français ⁄ Italiano Arcangelo Corelli (1653-1713) 2 Menu A 112 Solos and Concertos Fitted for the Flutes Concerto grosso Op. 6 no. 4 in F major 13 Gavotta. Allegro 0’56 (London, 1725) 14 Adagio 0’53 for two recorders and basso continuo 15 Minuetto. Vivace 1’54 [cello, theorbo, harpsichord] 1 Adagio – Allegro 3’55 Sonata Op. 5 no. 7 in G minor (London, 1702) 2 Adagio 2’04 for recorder and basso continuo 3 Vivace 1’03 [harpsichord] 4 Allegro – Allegro 3’19 16 Preludio. Vivace 2’31 17 Corrente. Allegro 3’29 Sonata Op. 5 no. 4 in F major (London, 1707) 18 Sarabanda. Adagio 2’06 for recorder and basso continuo 19 Giga. Allegro 2’39 [cello, theorbo, organ] 5 Adagio 2’36 Concerto grosso “Fatto per la notte di Natale” 6 Allegro 2’36 Op. 6 no. 8 in G minor (London, 1725) 7 Vivace 1’23 for two recorders and basso continuo 8 Adagio 2’39 [cello, theorbo, harpsichord, organ] 9 Allegro 2’32 20 Vivace – Grave 1’31 21 Allegro 2’21 Concerto grosso Op. 6 no. 9 in F major 22 Adagio – Allegro – Adagio 3’09 (London, 1725) 23 Vivace 1’18 for two recorders and basso continuo 24 Allegro 2’10 [cello, theorbo, organ] 25 Pastorale. Largo 4’18 10 Preludio. Largo 1’33 11 Allemanda. Allegro 2’44 12 Corrente. Vivace 2’00 Total Time 57’38 3 Menu Estro Cromatico Marco Scorticati recorder & direction Sara Campobasso recorder II Michela Gardini cello Evangelina Mascardi theorbo Davide Pozzi harpsichord & organ Pietro Pasquini organ (20-25) Instruments Alto recorder in f’ by Pietro Sopranzi, Pernumia 2011, after Pierre Jaillard Bressan (1-9, 16-25) Alto recorder in f’ by Pietro Sopranzi, Pernumia 2010, after Thomas Stanesby jr. (10-15) Alto recorder in f’ by Pietro Sopranzi, Pernumia 2016, after Thomas Stanesby jr. Cello by Mathia Popeller, Napoli c. 1730 – Bow by Fausto Cangelosi, Firenze 2010 Theorbo by Francisco Hervas, Granada 1997, after Christopher Cock, XVII c. Harpsichord by Andrea Di Maio, Canepina 2009, after Jean-Antoine Vaudry, 1681 Organ by Odero Lusetti & Petr Zejfart, Parma 1999, after Johann Gottlieb Näser, Fraustadt 1734 Recorded 12-14 March & 11 November (Sonata Op. 5 no. 7) 2016 at Studio Giardino, Crema (Italy) Recording and balance engineer: Rino Trasi – Editing: Marco Scorticati & Rino Trasi Produced by Marco Scorticati ℗ 2019 Estro Cromatico, under exclusive licence to Outhere Music France © 2019 Outhere Music France 4 Menu Corelli and the Recorder After the Baroque type of recorder was imported to England from France around 1673 (under the now-misleading name flute), the instrument achieved an unprecedented popularity among both amateurs and professionals for over fifty years. For amateurs, numerous “tutors” were published, containing a fingering chart, some rudimentary instruction, and a selection of the latest vocal and instrumental music, arranged for the alto (treble) recorder. “Persons of quality” (members of the middle and upper classes) such as the law student Dudley Ryder and the medical doctor Claver Morris took lessons and played the instrument by themselves or with friends. The French expatriate woodwind maker Peter Bressan made a fortune from selling high-quality recorders in several sizes, although the alto remained the pre-eminent instrument for solo and chamber music. Professional players of the oboe, flute, violin, bass violin, and harpsichord doubled on the recorder in music performed at the theatres and opera houses, in public and private concerts, and at the Court. The most famous players, who all also composed, were foreigners, taking advantage of London’s thriving musical life: James Paisible, John Loeillet, Johann Ernst Galliard, Francesco Barsanti, and Giuseppe Sammartini. The publishers John Walsh in London and Estienne Roger in Amsterdam (who had agents in London) issued large quantities of recorder music for the amateur market, mostly originally written by or for the professionals. The great Italian composer Arcangelo Corelli made an enormous impression in this music-crazed England, starting with the importation of his 12 sonatas, Op. 5, from Italy in 1700—a business venture of the violinists John Banister II and Robert King, who also played the recorder. The set was immediately reprinted by both Walsh and Roger, who had a sales battle over it. Banister’s colleague at the Drury Lane Theatre, Gasparo Visconti (“Gasperini”), a former student of Corelli who worked in London 1702–05, popularized the sonatas in the mini-concerts called “entertainments” held in the theatre intermissions. These pieces are commonly called “solo sonatas” nowadays and considered to be for violin and basso continuo, but the Italian title page, copied by both Roger and Walsh, labels them for “violino e violone o cimbalo” (violin and violone or harpsichord), so they were actually conceived as duo sonatas. Corelli does not appear to have written a single piece of original music for the recorder, but numerous arrangements were made of his string works. As some measure of the importance of recorder, in 1702 Walsh issued an anonymous arrangement of the last five sonatas and the variations on La Folia from Op. 5 for “a Flute and a Bass”—emphasizing their duo nature—made “with the approbation of several eminent masters.” The parts are marked “Fluto Primo” and “Fluto Basso” (albeit with bass figures), although the latter would have needed considerable modification to be played on a bass recorder. Perhaps Banister and King had a role in the arrangement? Walsh may not have known the arranger’s identity, or else he 5 English would presumably have exploited the sales poten- North called “consorts,” the Sonate a 3 for two tial of the name, as he did with Visconti’s proofre- violins and other instruments, first published in ading of Opp. 1-4 in an advertisement in 1705. Italy in 1681–94 and already available from Roger Besides La Folia, which is even more a tour de for several years (1696–98). Once again Corelli force for the recorder as it is for violin, with leaps did not have in mind what we think of as basso to f3 and g3 rarely found in England throughout continuo, but violone or archlute with organ (Op. this period, the sonatas of the second half of Op. 1 and 3), violone or harpsichord (Op. 2), and just 5, in effect suites of dances, are less technically violone (Op. 4). Walsh issued an arrangement of demanding than the free sonatas of the first half, six of the twelve sonatas in Op. 4 transposed “for which is perhaps why they were chosen here. two Flutes and a Bass” in 1702, again “with the The arranger (or publisher) changed the order approbation of several eminent masters.” Paisible of the first four sonatas, swapping the first two and Visconti were twice advertised as playing “a with the next two. He transposed three of the six piece of Instrumental Music [or a Sonata] by the works a minor third higher, the standard transpo- great Arcangelo Corelli for a Flute and Violin” at sition for flute works in the Baroque era, but one Drury Lane, presumably an arrangement from one of them only a minor second higher, and La Folia of the published sets. Interest in the Sonate a 3 as well as the sonata on this recording (Walsh was evidently picking up: in 1705 Walsh published VII in D minor) a perfect fourth higher. Notes still a complete set, Opp. 1–4, escalating his sales below the range of the alto recorder were gene- battle to a war with Roger over whose edition was rally transposed up an octave, sometimes flatte- more “correct” or “exact” (free of proofreading er- ning Corelli’s characteristic leaps in the process. rors). A second set of arrangements, “Sonatas for On the recorder the lively figuration would have 2 Flutes and a Bass,” came out in 1707, said to be been challenging for the time, before J. S. Bach “collected out of the choicest of his Works,” but in and Antonio Vivaldi took the instrument to new fact nos. 1–2 and 4–7 from Op. 2. technical heights. Walsh issued two more recorder arrangements Roger North, a London lawyer-turned-gentle- from the duo sonatas Op. 5 in 1707, this time man farmer, wrote that in England “the works of nos. 3 and 4, from the more technically challen- the great Corelli […] became the only music re- ging free sonatas in the first half. Curiously, they lished for a long time, and there seemed to be were bundled with a set of trio sonatas for two no satiety of them; nor is the virtue of them yet recorders and “a bass” by the German composer exhaled, and it is a question whether it will ever Johann Christoph Pez, a follower of Corelli but not be spent, for if music can be immortal, Corelli’s associated with England. The title page observes consorts will be so.” Although the English were that the duo sonatas were “artfully transpos’d and apparently more impressed by the duo sonatas fitted to a flute and a bass, yet continu’d in the at first, in 1701–02 Walsh began publishing what same key they were compos’d in.” In other words, 6 a way was found to leave them in the original key. subject can see them at Estienne Roger’s.” The or- Passages that include notes below the range of namentation from the 1707 recorder arrangements the alto recorder are generally taken up an oc- has less direction than Corelli’s own, but still in- tave.
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