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886445774948.Pdf Bologna 1666 Perti · Torelli · Colonna Kammerorchester Basel · Julia Schröder Giovanni Paolo Colonna Giacomo Antonio Perti Girolamo Nicolò Laurenti 1637-1695 1661-1756 1678-1751 La caduta di Gierusalemme sotto attr. Giuseppe Torelli Concerto per violino Lau6 Special thanks to l’imperio di Sedecia ultimo re d’Israelle San Galgano Guidotti 18. Largo, e spicco 1:27 Sinfonia Sinfonia 19. Vivace 3:16 & 1. Adagio – Prestissimo-Allegro – Adagio 2:41 10. Allegro – Largo – Presto, e spicco 2:10 20. Largo andante 2:42 for the generous support of the production. 21. Allegro 3:00 Giuseppe Torelli Lorenzo Gaetano Zavateri Concept, musicological research, edition of scores: Giovanni Andrea Sechi© 2016 1658-1709 1690-1764 Giacomo Antonio Perti Critical edition of scores (track 4, 9, 14, 15): Concerto per violino A.2.3.10 Concerti da chiesa, e da camera op. I attr. Giuseppe Torelli Francesco Lora© 2016 2. Allegro 2:29 Concerto XII (A tempesta di mare) La lingua profetica del taumaturgo Recorded: 10.-12.02.2016, 3. Largo 1:26 11. Allegro e con spirito-Adagio 5:13 di Paola Martinskirche Müllheim 4. Allegro – Largo 1:20 12. Adagio, e piano 3:00 Sinfonia avanti l’Oratorio Recording producer, balance engineer, 5. Allegro – Adagio 2:47 13. Allegro ma aperto 4:53 22. Allegro – Adagio – Allegro 2:36 editing & mastering: Jakob Händel Photos: Dominik Ostertag Giovanni Paolo Colonna Giacomo Antonio Perti Anonymous Artwork: [ec:ko] communications Messa a 5 Gesù al sepolcro Concerto con violini In honorem P 2017 Radio SRF 2 Kultur / Sinfonia avanti la Messa Sinfonia Divi Petronii Sony Music Entertainment Germany GmbH 6. Adagio-Presto – Adagio – Allegro – Adagio 2:24 14. Grave Allegro 2:45 23. Allegro 2:20 C 2017 Sony Music Entertainment 24. Andante grazioso, e sempre piano 1:58 Germany GmbH Giuseppe Matteo Alberti Giuseppe Matteo Alberti 25. Allegro 2:45 1685-1751 Concerti per chiesa e per camera op. I A co-production with Radio SRF 2 Kultur Concerti per chiesa e per camera op. I Concerto IX Total time: 66:35 Concerto VII 15. Allegro 2:39 7. Allegro 2:50 16. Largo 2:15 8. Grave 2:09 17. Allegro 2:39 9. Allegro 2:40 4 5 soloist / Solistin Julia Schröder Violine KAMMERORCHESTER BASEL 1. Violin / Violine Cello Julia Schröder Petr Skalka (Solo) Regula Keller Georg Dettweiler Valentina Giusti Double bass / Kontrabass Mirjam Steymans-Brenner Daniel Szomor 2. Violin / Violine Cembalo Ewa Miribung (Solo) David Blunden Regula Schwaar Regula Schär Organ / Orgel David Blunden Viola Mariana Doughty Theorbo / Theorbe Anna Pfister Simon Linné Direction / Leitung Julia Schröder www.kammerochesterbasel.ch 6 7 If the cultural and historical experience of Bologna had to be described in a single word, the most appropriate choice of adjective would be “autonomous”. A “free commune” since the twelfth century, Bologna lost its political independence in the sixteenth century and came under the rule of the Papal States. Because of its wealth, the local aristocracy was granted a less oppressive form of government than the other cities of the Papal States: throughout the early modern period the city was governed by a papal legate and by a Senate whose members were drawn from local noble families and which, in form at least, harked back to the Senate of the Roman Republic. The spirit of autonomy that had brought about the birth of one of the first communes in Europe was still alive, and it applied to the musical sphere, too – the seventeenth- and eighteenth-century “Bologna school” of composition and singing was Masters and pupils of the Accademia venerated throughout Europe for its stylistic distinctiveness (setting it clearly apart from the traditions of Rome and Venice). Filarmonica and the Basilica di San Petronio: Bologna had a rich and flourishing musical life, offering plentiful employment the “Bologna school” opportunities for talented musicians in both secular and ecclesiastical institutions. From 1666 onwards, it also boasted the centre of excellence that was the Accademia Filarmonica, an association of singers, composers and instrumentalists founded on the basis that its members would provide one another with mutual support. (It continues to thrive today, having celebrated its 350th anniversary in 2016.) In the 1700s, mem- bership of the Accademia became a prerequisite for a career as a professional musician: composers and performers (including, in 1770, Wolfgang Amadeus Mozart) travelled from all over Europe to sit its entrance examination. Because music collections were split and divided between different institutions, many of the documentary sources that make up Bologna’s musical legacy have been lost, with instrumental music particularly badly affected (the two largest collections in Bologna today are, in fact, what remains of the private archives of two composers: Giacomo Antonio Perti and Giovanni Battista Martini). Apart from works published by the composers themselves – often with amateur players in mind – the instrumental 9 music of Bolognese composers now has to be sought in other European cities, with often worked together on a commission: Perti, acclaimed for his vocal writing, frequently manuscripts housed in libraries in Dresden, Manchester, Paris and Vienna. entrusted the composition of sinfonias to a colleague, Torelli being his preferred col- This album offers a selection of works by composers of different generations. The laborator. Having carried out a series of thematic and stylistic comparisons, Lora has earliest music comes from the late seventeenth-century founding fathers of the Bologna attributed the sinfonias of two of Perti’s oratorios, San Galgano Guidotti and La lingua school: Giovanni Paolo Colonna (1637–1695) and Giacomo Antonio Perti (1661–1756), profetica del taumaturgo di Paola, san Francesco, to Torelli; a third such work included both of whom served as maestro di cappella at the Basilica di San Petronio, and both here, however, from the oratorio Gesù al sepolcro, is entirely compatible with Perti’s of whom devoted themselves almost exclusively to vocal music. The few instrumental own style. It is worth noting that such divisions of labour in the Baroque period did compositions they did write were introductory pieces for works such as Masses and not result in any loss of quality. On the contrary, the more prestigious the occasion oratorios. Several of these sinfonias are featured here, accompanied by concertos writ- and the person commissioning the music, the more sense it made for each aspect of a ten by those who came after them and who, by contrast, focused almost exclusively work to be done by a specialist in that area. A similar situation can be seen in seven- on instrumental composition. Giuseppe Torelli (1658–1709), Girolamo Nicolò Laurenti teenth-/eighteenth-century Rome: Arcangelo Corelli furthered his career by providing (1678–1751), Giuseppe Matteo Alberti (1685–1751) and Lorenzo Gaetano Zavateri introductory sinfonias for vocal works by his famous colleagues (including Giovanni (1690–1764) were all members of both the Accademia Filarmonica and the orchestra Lorenzo Lulier’s oratorio Santa Beatrice d’Este). of the Basilica di San Petronio: the institutions that safeguarded Bologna’s musical Torelli is credited with having invented the solo concerto, a genre then taken to the tradition. The fact that they all belonged to the same artistic circle meant that they all limits of formal development by Vivaldi (as noted by Johann Joachim Quantz as early as shared – and sometimes improved on – the idiom established by Colonna and Perti 1752). The solo concerto did not develop in linear manner, as is reflected by the diffe- (as can be heard in the programme on this Album). rent ways in which comparable works were known in the period 1680–1700. In Bologna When the latter masters died, therefore, their legacy lived on, the identity of the alone, instrumental compositions very similar in type might be designated “concerto”, Bologna school maintained and strengthened well into the eighteenth century, thanks “sinfonia” or “sonata” (in the case of works for trumpet and strings, one of the genres to the efforts of the eminent composer, teacher and theorist Giovanni Battista Martini most commonly used in liturgical music at the Basilica). This ambiguity stems from the (1706–1784) and his students. After all, any school is established by the handing down etymology of the terms “sinfonia” and “concerto”, both of which refer to the practice of of knowledge from master to pupil. playing or singing together. Torelli himself switched between the different terms, but was the first to clarify the issue by giving a simple per formance indication. In the prefaces to Giuseppe Torelli was born in Verona and completed his musical education in Bologna. his Sinfonie a tre e Concerti a quattro, op.5 (Bologna, 1692) and his Concerti musicali, op.6 He was admitted to the Accademia Filarmonica in 1684, and from 1686 onwards was (Augsburg, 1698), he advised respectively that the concerti be played with more than one also a member of the cappella of the Basilica di San Petronio. His counterpoint studies musician per part, and that the first violin be left to play the sections marked “solo” on with Perti – actually three years his junior – marked the start of a lasting artistic and its own. These instructions mark the beginning of the “concerto” as a genre for soloist personal relationship. As Francesco Lora has shown in his research, the two composers and orchestra, henceforth separate and distinct from the “sinfonia” and the “sonata”. 10 11 In the Torelli concerto included here (A.2.3.10 in Francesco Passadore’s catalogue), Giuseppe Matteo Alberti studied the violin with Carlo Manzolini and counterpoint with which dates from around 1700, we can see the genre verging on maturity, with the solo Perti. He made his name with the successful publication of his Concerti per chiesa e per violin fully emancipated from the rest of the orchestra.
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