570182bk Vitali 4/10/06 10:11 AM Page 2 Tomaso Antonio Vitali (1663–1745) da chiesa. He died in 1692, and his son Tomaso Antonio of contrapuntal activity in the faster movements. The Twelve Trio Sonatas, Op. 1 (1693) saw to the posthumous publication of a set of his father’s distinction between chamber and church gradually became chamber sonatas. Publication of his own trio sonatas blurred. Sonata I in D major 4:20 Sonata V in D minor 6:46 Sonata VIIII (IX) in C minor 5:44 followed in 1693, with his Op.1 and Op. 2 Sonate a tre, The English scholar Roger North, writing in the second 1 Grave 1:00 & Grave 0:58 ° Grave 1:06 and his Concerto di sonata, Op. 4, in 1695. The famous decade of the eighteenth century, provided a succinct 2 Allegro–Adagio 1:26 * Allegro 0:40 · without tempo indication 1:36 Chaconne, attributed to him by the nineteenth-century account of the form of the sonata, as he knew it, at a time 3 Grave 1:01 ( Grave 1:08 ‚ Grave 1:25 violinist Ferdinand David, is now thought to be by another when Corelli was all the rage in England: 4 without tempo indication 0:53 ) Vivace 1:34 a Allegro 1:37 composer, although Vitali’s name is chiefly familiar to all “It is observable that in most peices of musick the best violinists in connection with the work. is found at the beginning, for then the master’s spirit and Sonata II in C major 5:21 ¡ Grave 1:43 Sonata X in F major 4:19 ™ Allegro 0:43 The trio sonata, a form that had developed in Italy in invention are fresh, and in full vigor, which in the process 5 Grave 1:23 b Grave 0:50 the seventeenth century, came for long to hold a leading will in some measure abate. … And now in our common 6 Vivace 1:32 Sonata VI in G major 7:19 c Allegro 1:10 place in instrumental music. Scored generally for four Sonnatas for Instruments, the entrance is usually with all the 7 Grave–Adagio 0:53 £ Grave 1:28 d Grave 1:23 players, two treble instruments, a bass instrument and a fullness of harmony figurated and adorned that the master 8 Allegro 1:33 ¢ Allegro 1:20 e without tempo indication 0:56 chordal instrument or instruments, it offered a particularly at that time could contrive, and this is termed Grave, and Sonata III in E minor 4:18 ∞ Grave 1:00 Sonata XI in A minor 4:50 useful field for the deployment of two violins, together sometimes, but as I take it, not so properly, Adagio, for that 9 Grave 1:06 § Andante 1:52 f Grave 1:00 with a cello or bass string instrument and with harpsichord, supposeth some antecedent nimble imployment, and a share 0 Prestissimo 0:52 ¶ Grave 0:19 g without tempo indication 1:15 organ or other chordal instruments. Often described, as in of ease and repose to come after. But to returne, this Grave ! Grave 1:34 • Allegro 1:20 h without tempo indication 1:37 Vitali’s Opus 1 title, as a Sonata tre, a sonata for three, it most aptly represents seriousness and thought. The @ Allegro 0:41 Sonata VII in G major 4:47 i Presto 0:58 generally involved the use of three part-books, one each movement is as of one so disposed, and if he were to speak, Sonata IV in D minor 5:29 ª Grave 0:40 Sonata XII in G minor 7:28 for two violins, with the cello or bass instrument sharing a his utterance would be according, and his matter rationall # Grave 1:32 º Vivace 1:36 j Largo–Allegro–Largo–Allegro 1:22 third part-book with the keyboard or plucked instrument and arguing. The upper parts onely fulfill the harmony, $ Presto 1:25 ⁄ Grave 1:29 k Allegro 1:59 that filled out the harmony from figuring on the bass part, without any singularity in the movement; but all join in a % Grave 1:28 ¤ Allegro 1:02 l Largo 1:54 numbers that indicated the chord to be played. On occasion comon tendency to provoke in the hearers a series of ^ Allegro 1:04 Sonata VIII in B minor 7:28 m Grave 0:26 the cello was allowed a measure of solo independence, as thinking according as the air invites, whether Magnifick ‹ Grave 1:06 n Prestissimo 1:47 here in Sonata XII. As a basic instrumental form the trio or Querolous, which the sharp or flat key determines, as › Presto–Grave 1:33 sonata provided the foundation for the popular orchestral was observed before. When there hath bin enough of this, fi Allegro 1:31 baroque concerto grosso, in which a trio sonata might be which if it be good will not be very soon, variety enters, and fl Grave 1:19 enlarged by the addition of other string instruments to the parts fall to action, and move quick; and the entrance ‡ Allegro 1:59 louder passages, allowing a contrast between a small trio of this denouement is with a fuge … . This hath a cast of sonata group, the concertino, and the full string orchestra. buisness or debate, of which the melodious point is made Composers, with an eye to commercial possibilities, often the subject; and accordingly it is wrought over and under The son of Giovanni Battista Vitali, Tomaso Antonio, like the court musical establishment there as a violinist, offered other possible choices of instrument. Nevertheless, till, like waves upon the water, it is spent and vanisheth, his father, was born in Bologna. Giovanni Battista held a subsequently becoming leader of the orchestra. He spent by the eighteenth century, often inspired by the example of leaving the musick to proceed smoothly, and as if it were leading position in the musical life of the city. He had the rest of his life in Modena, employed by the court until Corelli’s 48 trio sonatas, two violins, cello and keyboard satisfyed and contented. After this comes properly in the joined the distinguished cappella of the Basilica of San 1742. He had perhaps studied the violin with his father, and instrument or its equivalent, became the norm. The sonatas Adagio, which is a laying all affaires aside, and lolling in Petronio in 1658 as a singer and string-player, and in the in Modena took composition lessons from Antonio Maria themselves were roughly classed as either da camera a sweet repose: which state the musick represents by a 1660s became a member of the important Accademia Pacchioni, a leading composer there. (chamber sonatas) or da chiesa (church sonatas). The first most tranquil but full harmony, and dying gradually, as Filarmonica. He later served as a vice maestro di cappella, Giovanni Battista Vitali was a composer of some of these arose from earlier dance suites and generally one that falls asleep. After this is over Action is resumed, and briefly as maestro di cappella, to Duke Francesco II significance, particularly in the development of instru- consisted of a series of dance movements. The church and the various humours of men diverting themselves (and d’Este in Modena. His son Tomaso Antonio accompanied mental music and of trio sonatas, both sonate da camera, sonata was more formal in structure, generally consisting even their facetiousness and witt) are represented …” his father to Modena in 1674 and the following year joined suites of dance movements, and the more formal sonate of four movements, slow–fast–slow–fast, with an element The Sonate a tre, Op.1, of Vitali generally follow this 8.570182 2 3 8.570182 570182bk Vitali 4/10/06 10:11 AM Page 4 pattern, enshrined in the work of Corelli, three sets of whose contrapuntal movement. A further slow movement leads trio sonatas had been published in the 1680s. It seems that to a rapid final movement. In some sonatas this pattern is Tomaso Antonio Vitali’s sonatas, church sonatas in their structure, were varied by the addition of other movements or brief linking originally solo works, for one violin and continuo, with a passages. second violin part added for publication. Each sonata opens VITALI with a slow movement, followed by a rapid and often Keith Anderson Twelve Trio Sonatas, Op. 1 Luigi Cozzolino SEMPERCONSORT Since 1976 Luigi Cozzolino has dedicated himself to the performance of early music, specialising in baroque violin and studying in master-classes with L.Mangiocavallo, E.Onofri, D.Sherwin and J.Savall. He has a particular interest Luigi Cozzolino, First Violin and Director in solo and chamber repertoire of the seventeenth and eighteenth centuries, notably that of the Italian trio sonata. He has collaborated with many of the leading figures in the field including Roger Norrington, Christopher Hogwood, Rinaldo Alessandrini, Jean-Claude Malgoire, Renè Clemencic, Andrew Lawrence-King, Alan Curtis, and Ivor Bolton. He performs regularly with groups such as Il Florilegio Musicale Barocco and L’Homme Armé, participating in important concert series such as the Monteverdi Festival of Cremona and the Baroque Festival of Viterbo. Since 1984 he has played in the Orchestra of the Maggio Musicale Fiorentino. SEMPERCONSORT SEMPERCONSORT was founded in 1999 by Luigi Cozzolino in Florence principally for the performance of Italian chamber music of the seventeenth and eighteenth centuries on historical instruments. The members of the SEMPERCONSORT have long experience in the performance of early music, playing with the most important groups in this field, including Giardino Armonico, Europa Galante, Modo Antiquo, I Barocchisti, Accademia Bizantina, Ensemble Matheus, Ensemble Zefiro, Homme Armé, Ensemble Concerto, Ensemble Jannequin, Complesso Barocco, Concerto Italiano, as well as in leading symphony orchestras, including those of La Scala di Milano and the Maggio Musicale Fiorentino.