A.Corelli-Concerto grosso in Re maggiore Op.6 nº4-Biondi-Europa Galante

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Uploaded by on Jun 20, 2010

Arcangelo Corelli (1653-1713)

Concerto grosso per due violini, violoncello, anchi e continuo in Re maggiore Op.6 nº4
[Adagio-Allegro-Adagio-Vivace-Allegro]

Schwetzinger Festspiele 2006

Fabio Biondi & Europa Galante

  • likes, 3 dislikes

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  • @zapadap no me gusta.........¡¡¡¡¡¡¡¡me encanta!!!!!!! FABIO, FABIO!!!!!

  • When good italian music is played by good italian musicians, it goes insuperable!

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All Comments (26)

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  • sen han pasado con el tempo

  • @RM220457 Sottoscrivo la tua idea in toto. Però detto tra noi purtroppo sarebbe un po' come buttare le perle ai porci ....

  • Mandiamolo con altri pezzi la sera prima del TG: "5 minuti di civiltà ed eleganza per un nuovo Rinascimento". L'idea avrebbe successo?

  • @fiddlefrog I didn't mean it to be critical - it's merely a bit of musicological trivia and doesn't at all take away from the beauty of a wonderful work of art, and certainly this group of Concerti is one of the very finest exemplars of this form, only exceeded in the very high Baroque and of course "exceeding" in the context of comparing masterworks is an emotional exercise and not an empirical one. Cheers!

  • @russellchannel I stand corrected. I did not know the source situation for op. 6. Thanks for edifying me!

  • @fiddlefrog The first edition of Opus 6 in 1714 after Corelli's death and there is no autograph for this Opus that I am aware of (although there are certainly parts borrowed from other works). whether we "need" Geminiani is besides the question if it is indeed Geminiani or not. Because these are unique in an output that was almost exclusively trio sonatas publsihed during his life and Geminiani was in the practice of doing such things at need, there is every reason to question it.

  • @russellchannel As this piece comes from Corelli op. 6, which is his actual collection of concerti grossi, there is no reason to question the authorship of the instrumentation. Furthermore, we hardly need Geminiani to make such arrangements for us; he left us very specific instructions on how to transform a trio sonata into a concerto grosso.

  • Beautifully played! I don't find it too fast, I don't feel them racing with each other, I think they're all comfortable with this tempo and it sounds brilliant :)

  • The joy of perfection!

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