Corelli: Concerti Grossi, Sinfonia to Santa Beatrice d'Este Freiburger Barockorchester & Gottfried von der Goltz

Cover Corelli: Concerti Grossi, Sinfonia to Santa Beatrice d'Este

Album info

Album-Release:
2018

HRA-Release:
02.11.2018

Label: Aparté

Genre: Classical

Subgenre: Chamber Music

Album including Album cover Booklet (PDF)

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FLAC 96 $ 16.50
  • Arcangelo Corelli (1653 - 1713): Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1:
  • 1Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1: I. Grave02:08
  • 2Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1: II. Allegro01:29
  • 3Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1: III. Adagio assai00:43
  • 4Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1: IV. Largo assai02:48
  • 5Sinfonia to Santa Beatrice d'Este in D Minor, WoO 1: V. Vivace01:53
  • Concerto grosso No. 1 in D Major, Op.6:
  • 6Concerto grosso No. 1 in D Major, Op.6: I. Largo - Allegro03:12
  • 7Concerto grosso No. 1 in D Major, Op.6: II. Largo01:19
  • 8Concerto grosso No. 1 in D Major, Op.6: III. Allegro - Largo - Allegro04:15
  • 9Concerto grosso No. 1 in D Major, Op.6: IV. Allegro03:52
  • Concerto grosso No. 2 in F Major, Op. 6:
  • 10Concerto grosso No. 2 in F Major, Op. 6: I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo - Andante03:57
  • 11Concerto grosso No. 2 in F Major, Op. 6: II. Allegro01:45
  • 12Concerto grosso No. 2 in F Major, Op. 6: III. Grave - Andante largo01:38
  • 13Concerto grosso No. 2 in F Major, Op. 6: IV. Allegro02:06
  • Concerto grosso No. 3 in C Minor, Op. 6:
  • 14Concerto grosso No. 3 in C Minor, Op. 6: I. Largo02:33
  • 15Concerto grosso No. 3 in C Minor, Op. 6: II. Allegro - Adagio02:05
  • 16Concerto grosso No. 3 in C Minor, Op. 6: III. Grave01:49
  • 17Concerto grosso No. 3 in C Minor, Op. 6: IV. Vivace02:13
  • 18Concerto grosso No. 3 in C Minor, Op. 6: V. Allegro02:19
  • Concerto grosso No. 4 in D Major, Op. 6:
  • 19Concerto grosso No. 4 in D Major, Op. 6: I. Adagio - Allegro03:26
  • 20Concerto grosso No. 4 in D Major, Op. 6: II. Adagio01:48
  • 21Concerto grosso No. 4 in D Major, Op. 6: III. Vivace01:00
  • 22Concerto grosso No. 4 in D Major, Op. 6: IV. Allegro03:03
  • Concerto grosso No. 5 in B-Flat Major, Op. 6:
  • 23Concerto grosso No. 5 in B-Flat Major, Op. 6: I.Adagio - Allegro03:19
  • 24Concerto grosso No. 5 in B-Flat Major, Op. 6: II. Adagio01:46
  • 25Concerto grosso No. 5 in B-Flat Major, Op. 6: III. Allegro - Adagio02:01
  • 26Concerto grosso No. 5 in B-Flat Major, Op. 6: IV. Largo - Allegro02:48
  • Concerto grosso No. 7 in D Major, Op. 6:
  • 27Concerto grosso No. 7 in D Major, Op. 6: I. Vivace - Allegro - Adagio - Vivace - Allegro04:16
  • 28Concerto grosso No. 7 in D Major, Op. 6: II. Andante - Largo02:31
  • 29Concerto grosso No. 7 in D Major, Op. 6: III. Allegro01:11
  • 30Concerto grosso No. 7 in D Major, Op. 6: IV. Vivace01:06
  • Total Runtime01:10:19

Info for Corelli: Concerti Grossi, Sinfonia to Santa Beatrice d'Este



Violinist Gottfried von der Goltz at the head of the Freiburger Barockorchester performs Corelli’s Concerti Grossi, true hits of the baroque repertoire.

Recorded by specialists, the programme abounds of life and bursts with colours. The various playing intentions clearly enlighten the different instrumental levels and the vivid dialogue between tutti and solists.

The enlarged continuo features a rich palette: lute, harp, harpsichord and organ are holding up the strings joined – o surprise – by winds! Oboe, bassoon, trombone and trumpet still enhance the dramatic dimension of these thrilling pieces. Gottfried von der Goltz himself sought for all the clues that may provide evidence for the presence of the additional timbres.

These passionate musicians release a brand new Corelli, pioneer in orchestral music. An exciting rediscovery!

Freiburger Barockorchester
Gottfried von der Goltz, violin & direction



Das Freiburger Barockorchester
According to legend, it all began on New Year’s Eve in 1985, when several students at the College of Music in Freiburg – excited about the upcoming new year and in full flush thanks to a few glasses of sparkling wine – decided to form an ensemble and play Baroque music on historical instruments.

After two years of rehearsals, with intensive research into sources and animated discussions on how on earth to play this or that phrase in Baroque style, they were ready: the musicians appeared for the first time under the name ‘Freiburg Baroque Orchestra’ in the Burgheim Church in Lahr on 8 November 1987. The program consisted of Baroque music from England (Purcell), France (Lully), Italy (Corelli), Austria (Muffat) and the Netherlands (Wassenaer).

Even after more than twenty years, the musicians of the Freiburg Baroque Orchestra still approach every single work or concert programme from this perspective. Though in the meantime its repertoire has enlarged impressively, ranging from the Baroque 17th century, through the Classic and Romantic periods, to current works. Yes, the ‘Freiburgers’ (as they are often referred to in the music scene) have also inspired experimental musical interest amongst contemporary composers to create works for their Baroque instruments. Indeed, very often with an explicit Baroque reference, for example during the Bach Week in Ansbach where the musicians baptised an ‘Ansbachian Concert’ by Manfred Trojahn in August 2009, whose instrumentation and operatic concert form referred to Johann Sebastian Bach’s Fourth Brandenburg Concerto.

Another property inseparably connected with the FBO is that they mostly play without a conductor. As was usual in the 18th century, the Freiburg Baroque Orchestra is also led from the concertmaster’s platform. Less historically, actually in an extremely modern manner, the Freiburgers fill this position with two Artistic Managers of equal status (a form of dual command), who alternately manage individual projects: Gottfried von der Goltz and Petra Müllejans. Conductors are, of course, invited for works involving a larger number of players. The most prominent guest, and particularly popular amongst the musicians, is René Jacobs, under whose leadership the FBO won the German Record Critics’ Award in 2009 for their recording of Mozart’s opera Idomeneo. Often, and this too is a special quality of the FBO, the ensemble’s own musicians appear as soloists in concerts and on CD. And this brings us to the trade mark of the Freiburg Baroque Orchestra: major aspirations, enormous playing pleasure and a lively musical inquisitiveness. Whereby rediscovering unknown music is just as important as getting familiar music to speak in a new dialect. The Freiburg Baroque Orchestra has conquered the most famous concert halls on the international music scene with this artistic credo, where they can be heard with about 100 appearances per year. Often with some of the most famous interpreters of our time, such as Christian Gerhaher, Isabelle Faust, Philippe Jaroussky and René Jacobs. The orchestra’s discography has meanwhile grown to over 60 CDs, of which many recordings have won prizes. That the Freiburg Baroque Orchestra has also played itself to the top of the traditional classical scene is demonstrated by the fact that it was the very first Baroque orchestra to be invited to open the Salzburg Festival, in 2009.

In addition to its own series of concerts in the Freiburg Concert Hall, the FBO has also found a musical home in Stuttgart’s Liederhalle and Berlin’s Philharmonie for over 15 years with a series of concerts that it organises itself.

Booklet for Corelli: Concerti Grossi, Sinfonia to Santa Beatrice d'Este

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