Senza Continuo

With these words begins the first written cello method, authored by Michel Corrette and published in Paris around 1741: the cello, a bass instrument, is considered a “noble pillar of harmony”. At that time, music history was roughly in the middle of the basso continuo era, which began during Monteverdi’s lifetime with the “Seconda Pratica” and ended during Robert Schumann’s lifespan. A lot revolved around the melody of the bass line, its realisation and rendering. In Corelli’s orchestra, a large bass section comprising many instruments of different sizes, with several cellos, double basses, lutes and harpsichords, was placed just behind the concertino. Behind them were the intermediate voices, first and second violas. Only behind the latter were those who carried the melody of the upper voices, namely the violinists. Such a setting has nothing to do with today’s musical practice and sound expectations. The vast bass section determined the tempo, the character and the dynamics. Those providing the melody had to adapt; any resistance would have been pointless.

On this new release Baltic Baroque Ensemble presents this delightful and not so well-known four sonatas by Antonio Vivaldi for two violins with optional basso continuo. Sonata RV 70 bears the title Prima Suonata Da Camera a 2 Violini anco senza Basso se piace Del Vivaldi − the first chamber sonata for two violins, if desired, to be played without the bass, work by Vivaldi. The titles of the other sonatas vary a little containing an amendment: da suonarsi anco senza Basso (may optionally be performed without the bass). Sonata RV 71 has been numbered 2 by the composer, RV 68, in its turn, 3 and RV 77 has not been given a number at all.