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Enrico Bronzi, Michele Barchi - Geminiani: 6 Sonate, Op.5 (2010)

Posted By: tirexiss
Enrico Bronzi, Michele Barchi - Geminiani: 6 Sonate, Op.5 (2010)

Enrico Bronzi, Michele Barchi - Geminiani: 6 Sonate, Op.5 (2010)
EAC | FLAC (tracks+.cue, log) | Covers Included | 55:11 | 343 MB
Genre: Classical | Label: Concerto | Catalog: CD 2061

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.

Roel Dieltiens - Vivaldi & Geminiani: Sonatas for Violoncello and Basso Continuo (1991) Reissue 2008

Posted By: Designol
Roel Dieltiens - Vivaldi & Geminiani: Sonatas for Violoncello and Basso Continuo (1991) Reissue 2008

Vivaldi & Geminiani - Sonatas for Violoncello and Basso Continuo (1991) Reissue 2008
Roel Dieltiens (violoncello), Richte van der Meer (violoncello continuo)
Anthony Woodrow (double bass), Robert Kohnen (organ & harpsichord)

EAC | FLAC | Image (Cue&Log) ~ 365 Mb | Mp3 (CBR320) ~ 193 Mb | Scans included
Genre: Classical | Label: Accent | # ACC 10081 | Time: 01:11:19

It is now generally accepted that Vivaldi wrote ten cello sonatas – one of them now lost. Six (RV 47, 41, 43, 45, 40 and 46) of the surviving nine were published posthumously as a set, in Paris, by Charles-Nicolas Le Clerc around 1740. The other three survive in manuscript collections: RV 42 (along with RV 46) is preserved in the library at Wiesentheid Castle at Unterfranken in Germany; RV 39 and 44 (along with RV 47) are to be found in a manuscript in the Naples Conservatoire.
Geminiani’s opus 5 consists of six cello sonatas, and was first published in Paris in 1746. The twenty years either side of 1740 saw the cello rise to a very fashionable position in French musical society, largely at the expense of the bass-viol – a change of fashion which stirred such strong emotions that in 1740 Hubert Le Blanc published his fierce Defense de la basse de viole contre les entreprises du violon et les pretensions du violencel. Music such as that by Vivaldi and Geminiani which is played here by Roel Dieltiens and his colleagues must have made a powerful counter-case for the cello.