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Chamber Sonatas the AVISON ENSEMBLE Pavlo Beznosiuk Director / Violin

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Chamber Sonatas the AVISON ENSEMBLE Pavlo Beznosiuk Director / Violin Arcangelo Corelli Opus 2 & 4: Chamber Sonatas THE AVISON ENSEMBLE Pavlo Beznosiuk director / violin Arcangelo Corelli Opus 2 & 4: Chamber Sonatas THE AVISON ENSEMBLE Pavlo Beznosiuk director / violin Recorded at St George’s Church, Chesterton, Cambridge, UK from 11-15 Jan 2010 and 11-17 Jan 2012 Produced and recorded by Philip Hobbs Assistant Engineer: Robert Cammidge Post-production by Julia Thomas Design by gmtoucari.com Angel at La Recoleta Cemetery in Buenos Aires by Neale Cousland Disc 1 – Opus 2 Sonata da camera in D Major, No. 1 Sonata da camera in F Major, No. 7 q I. Preludio – Adagio 1:12 w II. Allemanda – 2# I. Preludio – Adagio 1:51 2$ II. Allemanda – Allegro 1:26 e III. Corrente – Allegro 1:11 Allegro 1:40 2% III. Corrente – Allegro 1:24 r IV. Gavotta – Allegro 0:25 2^ IV. Giga – Allegro 1:41 Sonata da camera in D minor, No. 2 Sonata da camera in B minor, No. 8 t I. Allemanda – Adagio 2:38 y II. Corrente – 2& I. Preludio – Adagio 1:26 2* II. Allemanda – Allegro 2:01 u III. Giga – Allegro 1:32 Largo 2:49 2( III. Tempo di Sarabanda – Adagio 2:03 3) IV. Tempo di Gavotta – Allegro 1:09 Sonata da camera in C Major, No. 3 i I. Preludio – Largo 0:57 o II. Allemanda – Sonata da camera in F-sharp Allegro 2:02 a III. Adagio 1:34 s IV. Allemanda minor, No. 9 – Presto 1:58 3! I. Allemanda – Largo 2:31 3@ II. Tempo di Sarabanda – Largo 3:29 3# III. Giga – Allegro 1:29 Sonata da camera in E minor, No. 4 d I. Preludio – Adagio 3:14 f II. Allemanda – Sonata da camera in E Major, No. 10 Presto 1:17 g III. Grave – Adagio 1:53 3$ I. Preludio – Adagio 1:05 3% II. Allemanda – h IV. Giga – Allegro 1:52 Allegro 1:44 3^ III. Sarabanda – Largo 1:20 3& IV. Corrente – Allegro 1:33 Sonata da camera in B-flat Major, No. 5 j I. Preludio – Adagio 1:14 k II. Allemanda – Sonata da camera in E-flat Major, Allegro 2:09 l III. Sarabanda – Adagio 1:33 No. 11 ; IV. Tempo di Gavotta – Allegro 1:44 3* I. Preludio – Adagio 1:15 3( II. Allemanda – Presto 1:21 4) III. Giga – Allegro 1:15 Sonata da camera in G minor, No. 6 2) I. Allemanda – Largo 2:33 2! II. Corrente – Sonata da camera in G Major, No. 12 Allegro 1:05 2@ III. Giga – Allegro 2:12 4! I. Ciaccona – Largo 3:38 TOTAL TIME: 74:30 Disc 2 – Opus 4 Sonata da camera in C Major, No. 1 Sonata da camera in F Major, No. 7 q I. Preludio – Largo 1:23 w II. Corrente – Allegro 2$ I. Preludio – Largo 1:34 2% II. Corrente – Vivace 1:33 e III. Adagio 1:24 r IV. Allemanda – Presto 1:17 2^ III. Grave 0:35 2& IV. Sarabanda – Vivace 1:37 1:12 2* V. Giga – Allegro 1:35 Sonata da camera in G minor, No. 2 Sonata da camera in D minor, No. 8 t I. Preludio – Grave 2:13 y II. Allemanda – 2( I. Preludio – Grave 1:55 3) II. Allemanda – Allegro 1:38 u III. Grave 0:32 i IV. Corrente Allegro 1:38 3! III. Sarabanda – Allegro 0:40 – Vivace 1:42 Sonata da camera in B-flat Major, No. 9 Sonata da camera in A Major, No. 3 3@ I. Preludio – Largo 2:08 3# II. Corrente – Allegro o I. Preludio – Largo 3:35 a II. Corrente – Allegro 1:50 3$ III. Grave 1:18 3% IV. Tempo di Gavotta – 1:41 s III. Sarabanda 1:46 d IV. Tempo di Gavotta Presto 2:16 – Allegro 1:28 Sonata da camera in G Major, No. 10 Sonata da camera in D Major, No. 4 3^ I. Preludio – Adagio 1:28 3& II. Grave 1:25 f I. Preludio – Grave 1:43 g II. Corrente – Allegro 3* III. Tempo di Gavotta – Presto 1:46 1:29 h III. Adagio 1:30 j IV. Giga – Allegro 1:50 Sonata da camera in C minor, No. 11 Sonata da camera in A minor, No. 5 3( I. Preludio – Largo 2:21 4) II. Corrente – Allegro k I. Preludio – Adagio 1:55 l II. Allemanda – 2:36 4! III. Allemanda – Allegro 2:05 Allegro 1:41 ; III. Corrente – Vivace 1:16 2) IV. Gavotta – Allegro 0:37 Sonata da camera in B minor, No. 12 4@ I. Preludio – Largo 2:51 4# II. Allemanda – Presto Sonata da camera in E Major, No. 6 1:42 4$ III. Giga – Allegro 1:11 2! I. Preludio – Adagio 2:42 2@ II. Allemanda – Allegro 1:30 2# III. Giga – Allegro 1:53 TOTAL TIME: 76:01 Arcangelo Corelli The Italian violinist Arcangelo Corelli was not a prolific composer. In total he published six collections of music, all of which consist of instrumental music alone. Nevertheless, Corelli is held to be one of the greatest composers of the Baroque era and his music was widely disseminated and reissued many times. Corelli’s significance as a composer is due to his influence. Many other composers found his work to be a perfect model for their own compositions; as such, sonatas and concertos in the Corellian style were produced in vast quantities throughout Europe. His Op. 6 Concerti Grossi, published posthumously in 1714, were well received, as were his Op. 5 Violin Sonatas from 1700. The Op. 5 was one of the most successful works of all-time, as shown by the immense number of reprints that appeared in the century after its first publication. Nevertheless, Corelli first found fame as a composer of trio sonatas, of which he published four sets of twelve between 1681 and 1694. Corelli was born on 17 February 1653 in Fusignano, a small provincial town, less than a month after the death of his father and in whose memory he was named. He studied the violin locally before he moved to Lugo and then to Bologna no earlier than 1666; by 1675 Corelli had relocated to Rome where he worked for a series of patrons. His first patron was Queen Christina of Sweden, to whom he dedicated his 1681 Op. 1 trio sonatas. After a change in her financial circumstances, Corelli had no option but to leave Queen Christina’s service and by 1684 had entered the employment of Cardinal Benedetto Pamphili. Pamphili, who had inherited his wealth from his parents, was of a more worldly nature than one would expect of a cardinal. Much to the Pope’s disapproval, Pamphili was a regular patron of the theatre 6 and held extravagant parties at his family villa in Cecchignola. Additionally, he was also well known for his investments in the arts. Corelli performed in Pamphili’s orchestra and honoured his illustrious benefactor through the dedication of his 1685 Op. 2 sonatas, in which he described Pamphili as a ‘worthy…protector of the Muses.’ In 1690 Pamphili relocated to Bologna and Corelli entered into the service of Cardinal Pietro Ottoboni, the grand-nephew of Pope Alexander VIII. Ottoboni lived at the magnificent Palazzo della Cancelleria where he was able to indulge his love of the arts, particularly music. His court quickly became a stopping point for European musical virtuosi, and many travellers recalled their experiences at Ottoboni’s musical parties in their letters and diaries. In one such letter, dated 2 November 1695, James Drummond, Earl of Perth, recorded his visit to the Cancelleria. He said that Ottoboni ‘has the best musique in the world, and is glad when strangers go to his house to take the pleasure of his diversions. Yesterday… he invited us to partake of the pleasure of musique and opera when we pleased; he has one who is known by the severall names of le Bollognese Archangeolo (for his name is Michael or Corelli), a fidler, but who waits on him as a gentleman here; the best player on the fidle that ever was, and the greatest master for composeing; he with one he has bred, who plays litle worse than he, and three eunuchs with the others to compleat the company, sing and play every night at the Cardinall’s, and certainly nothing can be finer.’ In addition to his role as a performer, Corelli acted as musical director at the palace; he also led the orchestra and authorised payments to the other musicians. Ottoboni’s 7 relationship with Corelli was close; in truth, the cardinal was more a friend than an employer. In a letter, Ottoboni expressed that he had ‘such love for Signor Arcangelo that I do not distinguish the passion of my own interest from that of so worthy a subject.’ The poet and cleric Giovanni Crescimbeni likewise said that Ottoboni treated Corelli with ‘distinct honour in his presence, and loved him tenderly.’ Corelli honoured Ottoboni through the dedication of his Op. 4 sonatas, which appeared in 1694. Corelli died suddenly on 8 January 1713. In his will, dictated only three days before his death, he bequeathed to Ottoboni a painting of his choice from his substantial collection and requested that the cardinal bury him ‘wherever he most desires.’ Ottoboni expressed his profound grief in a letter written to Corelli’s family and spared no expense in the funeral arrangements. Corelli’s body was embalmed, placed in three coffins of lead, cypress, and chestnut, and interred in the Roman Pantheon in a tomb of marble. The origin of the trio sonata is somewhat ambiguous yet, by the time of Corelli’s birth in 1653, it was a well-established and popular genre.
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