Riccardo Geminiani

After Handel, Geminiani was among the most prominent foreign musicians to settle in England during the first half of the 18th century. His most celebrated collection of concertos was published in 1732 as his Op. 3. Charles Burney rated them highly and it is easy to see why: they are beautifully crafted pieces modelled, to some extent, on those of his teacher, Corelli. But, in addition to the two violins and cello which form the typical concertino/solo group of the Corellian concerto grosso, Geminiani added a viola to make up a quartet. He was not quite the first to do this, but he was the first to integrate the solo and grosso elements with such finesse.

Student of Arcangelo Corelli, Francesco Geminiani was counted among a handful of Baroque-era violin virtuosos and was equally active as a composer and educator. As someone who out of necessity wrote a great deal of music for his own instrument Geminiani was also an innovator, his music beginning to bridge the gap from the late Baroque into the early Classical. Though he is known best for his violin works, Geminiani wrote for other instrumental combinations, as well. This Concerto album highlights the six sonatas of Op. 5, scored for cello and basso continuo.

Though Geminiani expressed a great deal of pride and acoomplishment regarding his Six Cello Sonatas, Op. 5, his writing style proved to be passé for audiences of the time and they did not receive their due appreciation. Today, however, they are recognized for what they are: one of the finest sets of cello sonatas to emerge from the last half of the 18th century. Geminiani's writing demonstrates a thorough knowledge of the cello's technical abilities as well as its abilities to convey emotions and sentiments. His writing, scored for solo cello, harpsichord, and basso continuo, is highly elaborate, filled with sophisticated ornamentation and an active continuo part.

How do you present music by an unknown composer on a market which already overflows with discs and in particular in a time of economic decline? You can devote a whole disc to this repertoire, but there is a good chance that a considerable part of the target group would remain sceptical. So many interpreters pretend that the music they have discovered is of world-class quality. Do we need to believe them? Emilio Percan tries to convince us that the music of Giovanni Antonio Piani is really worthwhile. He does so by presenting it together with music by two well-known masters of his time. That seems the most sensible way: if the listener is disappointed about Piani, he still has Handel and Geminiani to enjoy.
– Johan van Veen, MusicWeb International

With this recording, the Purcell Quartet reach the mid-point in their six-part series of chamber music based on La Jolla, and although this CD is devoted to Geminiani, the only work on that tune is, in fact, his concerto grosso arrangement of Corelli's variations for violin (Op. 5 No. 12). In addition, they have chosen the G minor Concerto grosso (distinguished by Geminiani's remarkable concertino viola part, played to good effect by Alan George), two of Geminiani's original solo sonatas (giving Catherine Mackintosh and Elizabeth Wallfisch moments in which to shine) and trio arrangements of two of his violin sonatas.

With this recording, the Purcell Quartet reach the mid-point in their six-part series of chamber music based on La Jolla, and although this CD is devoted to Geminiani, the only work on that tune is, in fact, his concerto grosso arrangement of Corelli's variations for violin (Op. 5 No. 12). In addition, they have chosen the G minor Concerto grosso (distinguished by Geminiani's remarkable concertino viola part, played to good effect by Alan George), two of Geminiani's original solo sonatas (giving Catherine Mackintosh and Elizabeth Wallfisch moments in which to shine) and trio arrangements of two of his violin sonatas.

Decca Classics is thrilled to announce a new Baroque album from Grammy award-winning violinist Nicola Benedetti. This is the first album Benedetti has released on a period set-up including gut strings, and she is joined by a leading group of freelance baroque musicians, forming the Benedetti Baroque Orchestra for the very first time. The album features a selection of concerti by Vivaldi plus Geminiani’s incredible arrangement of Corelli’s ‘La Folia’, one of the oldest western classical themes which has been arranged by many composers over time, particularly in the baroque era. Geminiani was one of the greatest violinists of the era and Corelli was one of his teachers whilst growing up in Italy. Later when he moved to London, Geminiani reworked a number of Corelli’s works for local audiences including this arrangement of ‘La Folia’.