Corelli Op. 8

This VIVALDI/CORELLI/BEYER collection groups interpretations by Amandine Beyer and the ensemble Gli Incogniti of major works by two Italian composers: Vivaldi and Corelli. Here again, Amandine Beyer demonstrates her exceptional talent as both a violinist and ‘bandleader’, giving these works, which illustrate the art of the concerto at the beginning of the 18thcentury, a certain Italian vocal quality in a particularly felicitous and invigorating interpretation.

This disc in the Avison Ensemble’s project to record the complete Corelli chamber music is devoted to his Op. 5 collection of violin sonatas – works that swept Europe by storm when they were first published in 1700. Recent recordings include Accademia Bizantina, Purcell Quartet, Trio Corelli, Trio Sonnerie, and a particularly charismatic version from Andrew Manze with harpsichordist Richard Egarr. One of the most immediate differences between these versions is their approach to the continuo, the Avison Ensemble favouring the varied timbres and textures of an ensemble (variously harpsichord or organ, archlute, Baroque guitar and cello) rather than solo harpsichord.

Andrew Manze is not only a superb violinist – check out his Biber sonatas – but also a superb music director. Since taking over the calcified old Academy of Ancient Music and bringing the group with him to Harmonia Mundi, he has produced a stunning series of recordings: a couple of Vivaldi discs, a wonderful set of Handel's Opus 6 concertos, a sublime disc of the Bach concertos. Now they have released Geminiani's Concerto Grossi after Corelli's Op. 5, and it is their best yet.

The sentimental and idyllic picture generally summoned up by Christmas concerti, especially those of the Baroque period, does not altogether reflect musical reality in Italy. Whereas today’s listener imagines joyful music composed in a pious time, the musical landscape portrayed in the concerti of the Italian Baroque composers was altogether richer and more colourful. This can be seen from the selection of Baroque concerti on this disc, which were either written directly for Christmas celebrations, or — as in the case of the concerto by Pez — could be used as Christmas music.

This double album offers a portrait of the violinist Amandine Beyer drawn from the recordings she has made for ZZT. The first CD selects highlights from her chamber repertoire, including works by Jean-Féry Rebel, Carl Philipp Emanuel Bach, Nicola Matteis, and Robert de Visée. The second is devoted to the concerto, with compositions by Johann Sebastian Bach, Antonio Vivaldi, and Arcangelo Corelli. This programme is an ideal introduction to the multiple facets of Amandine Beyer’s talent and to the grace and joie de vivre of her music-making. It also provides an opportunity to discover one of Corelli’s Concerti Grossi op.6, a preview of the complete set to be released on ZZT in the autumn of 2013.

Arcangelo Corelli was the most famous Italian composer of the late 17th century. He owed this preeminence to his skill in harnessing the musical tendencies of his time, as is demonstrated by his celebrated Sonatas, which became the models for the chamber sonata (sonata da camera) and church sonata (sonata da chiesa). Yet the composer himself was constantly reacting against these archetypes, and it is this perpetual reflection on his own art that gives his works their extraordinary richness.

Arcangelo Corelli was the most famous Italian composer of the late 17th century. He owed this preeminence to his skill in harnessing the musical tendencies of his time, as is demonstrated by his celebrated Sonatas, which became the models for the chamber sonata (sonata da camera) and church sonata (sonata da chiesa). Yet the composer himself was constantly reacting against these archetypes, and it is this perpetual reflection on his own art that gives his works their extraordinary richness.

The re-release of The English Concert’s award-winning recording of Corelli’s Op 6 concertos offers a welcome opportunity to reflect on some of the changes in taste that have emerged since 1989. Two competing recordings, by groups led by Italians – that of Ensemble 415 and Europa Galante – oblige with two quite different approaches to this most quintessential of Baroque music.