Geminiani: 12 Concerti Grossi

1. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 1 in D major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

2. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 2 in B flat major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

3. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 3 in C major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

4. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 4 in F major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

5. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 5 in G minor
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

6. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 6 in A major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

7. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 7 in D minor
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

8. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 8 in E minor
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

9. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 9 in A major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

10. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 10 in F major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

11. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 11 in E major
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

12. Concerti Grossi (12) after Op 5 of Arcangelo Corelli No 12 in D minor
Composed by Francesco Geminiani
with Mario Centurione , Walter Gallozzi , Maria Teresa Garatti , Musici , Roberto Michelucci , Aldo Bennici

Tracks:

I Grave/Allegro/Adagio
II Allegro
III Largo
IV Allegro
I Grave
II Allegro
III Vivace
IV Adagio
V Vivace
I Adagio
II Allegro
III Adagio
IV Allegro
I Adagio
II Allegro
III Vivace
IV Adagio
V Allegro
I Adagio
II Vivace
III Adagio
IV Allegro
I Adagio
II Allegro
III Adagio
IV Allegro
I Preludio - David Watkin
II Giga - David Watkin
III Adagio - David Watkin
IV Tempo Di Gavotta - David Watkin

Tracks:

I Preludio
II Corrente
III Sarabanda
IV Giga
I Preludio
II Allemanda
III Sarabanda
IV Giga
I Preludio
II Giga
III Adagio
IV Tempo Di Gavotta
I Preludio
II Allemanda
III Sarabanda
IV Gavotta
V Giga
I Preludio
II Allegro
II Adagio
IV Vivace
V Gavotta
Theme & Variations 1-8
Variations 9-14
Variations 15-25
I Andante
II Presto
III Adagio
IV Allegro

Amazon.com

Francesco Geminiani (born 1687 in Lucca, Italy; died 1762 in Dublin), a pupil of Corelli and one of the greatest violinists of his day, wrote a lot of music for his instrument, as well as a treatise on playing it. He made the orchestration of these 12 sonatas in tribute to his teacher, who would certainly have been proud if he had lived to hear them. Going far beyond mere arrangements, they seem to explore and reveal latent or unrealized intentions, adding sonorities and contrapuntal voices, enhancing character and expression. The most striking example is the famous "La Follia," where the usually hidden drama is suddenly released with a tumultuous virtuosity that foreshadows Liszt's orchestral version of Schubert's Wanderer Fantasy. The playing is stunning. Tuned a half-tone down, the strings have a lovely, pure, transparent sound that supports and surrounds the soloist with a warm shimmer; the long notes float, the fast movements are crisp and light, the rhythm and counterpoint are clear. Andrew Manze, who also writes informative, entertaining program notes, plays with spectacular virtuosity, a beautiful tone, and all-out expressive abandon and imagination, letting loose cascades of infinitely varied, inventive ornamentation. The second disc features the easier, more familiar sonatas, loved by all violin students, but transformed here into brilliant concertos. One of them is added to the first disc in Geminiani's ornamented version for violin and cello, while a cello sonata by Geminiani himself closes the program, perhaps a miscalculation, since the music is distinctly inferior to Corelli's. --Edith Eisler

Customer Reviews:

relaxing classical music NOT.......2007-02-23

in london on that cold rainey tuesday night i saw andrew play some of these selections
he brought the house down or i should say the wren church
like a rock star in a way
he was covered in sweat
i love music
all music played with passion
i have fantasies
a young music group
outside the local classical music station
all relaxing all the time
they call the press those young musicians
we are so very passionate declares the young violinist
themes and variations 25
from geminiani's remiz of corelli
and they play their heart out
and maybe the tv station has a music lover
he loves jimmi at woodstock playing the national anthem
the smiths how soon is now
U2 playing sunday bloody sunday sunday live in dublin
its the last story the only in san francisco story
and its played to its fullest
and the young players really show it off
that young vioinest really plays
and that sweat and passion
he even makes a woop
during the most passionate part
impresses the station manager who loves jimmi at woodstock
and morrisey
and U2 in dublin
wow

Wonderfull Baroque.......2007-02-01

As I heartily agree with Dan Grunfeld's review I can be brief. Corelli's opus 5, 12 sonatas for violin, with harpsichord or cello, set the standard for violin composition and playing for 100 years; his pupil and loving disciple, Geminiani, has carefully orchestrated and developed them into 12 concerti grossi, which doubles our pleasure, in no way does it make the original sonatas obsolete. Although I have sone reservations with some of Andrew Manze's recordings of Vivaldi and Bach violin concertos,he does a superb job in this recording. His recording of Handel's Opus 6, Mr Handels's Twelve Grand Concertos, more concerti grossi, is also excellent.

Corelli and his interpreters.......2006-05-10

As the reader may already know, the opus 5 violin sonatas of Corelli were the inspiration for this orchestral interpretation of them by Geminiani. As related by Manze in his album notes, Corelli chose the significant year 1700 to publish opus 5, and according to Manze, this represents a landmark in Italian baroque, for every composer who came after has had to reckon with these sonatas, and somehow find a way to equal (but not surpass) them in invention and creativity. Vivaldi composed his own version of "La Follia" (Sonata XII), arguably better than Corelli's; but many another of Vivaldi's sonatas, magnificent though they are, simply do not have the clarity, spirituality, grace, and lyricism of the Corelli opus 5. Geminiani, a student of Corelli, and arguably one of the greatest baroque violinists of his day, crafted these orchestral versions of the opus 5 as a tribute to his master. Manze rightly observes that these concertos are not simply orchestrations of opus 5, but actually extensions of it; they are variations to some extent, creative expansions and magnificent glosses on the originals. New points of emphasis are added, some phrasings are given a different turn, new counterpoint is introduced at various places in the score to enhance the subtle beauty of the originals. If you love the Italian baroque, you will not want to be without this gem. But as others have observed, don't neglect the original sonatas themselves. Manze has recorded his own inimitable version on Harmonia Mundi, and I strongly recommend it. But there are others as well. Elizabeth Wallfisch on the Hyperion Label has her own recording, slightly more subdued yet also smoother than Manze's. I strongly recommend that you buy as many versions of the opus 5 as you have the budget for (well, at least three!), starting with these orchestrations by Geminiani. They will teach you to love the originals. Look at them as perhaps a point of entrance into what many consider the greatest violin sonatas ever written.

go for the real thing.......2003-01-13

geminiani wrote some fine concerti in his career, but buyers should be aware that these 12 concerti grossi are actually geminiani's transcriptions for chamber orchestra of the 12 sonatas for violin and continuo, op.5, by his teacher, the roman composer archangelo corelli. (this explains the inclusion of two of the original corelli sonatas on the disc.) i am a great fan of both corelli and geminiani, and their mellifluous, elegant and sophisticated style of baroque music sounds great in any format ... but you may enjoy these sonatas more performed in their original versions.

Manze stretches period performance - but not enough.......2002-08-24

I am a dissident about "authentic instrument performance". I respect the commitment and skills of many of the practioners of this style of play. But I suggest that playing to audiences that have been dead for 250 years is an intellectual, not a musical idea.

Why turn our back on the glorious string tone evolved since 1700? Refitting instruments and using gut strings reduces a fine violin's projection capacity to that of a $500 student violin. This is progress? throughout history composers sought to maximize the impact of their music on audiences. They quickly adapted instrumental improvements as they became available. Did Beethoven frequently break hammers of his "Hammerklavier" because he was satisfied with the volume he was producing? Then why on earth abandon a resonant, responsive Steinway grand and play Beethoven sonatas on a pitiful fortepiano? It makes no esthetic sense. It is an insult to relegate a Vivaldi who electrified his audiences with bold new effects and dramatic flights of inspiration to the "ancient music" ghetto.

OK, back to Manze. Manze is technically gifted, and emotionally probably more in tune with Italian than English temperament. He allows greater expression than the quaint, contrived and mannered styles of the Keuken brothers or the Camerata Koln - but I still bet that if Antonio Vivaldi came back, heard Solisti Italiani playing his works in a tasteful but full-blooded "living tradition style" letting his inspiration be realized for the new age, and then heard Manze, he might well do a Peter Townshend and smash Manze's violin for him.

Geminiani: Concerti grossi, Op. 3
Average customer rating:

Noble melancholy

Geminiani: Concerti grossi, Op. 3

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005W56
Release Date: 1997-10-14

Amazon.com

Geminiani was a talented composer, and one of the greatest violinists of his day (he died in 1762). His made his career largely in England, and was a colleague of both Corelli, who was his teacher, and Handel. His concertos follow what Corelli called the Church Sonata form--generally four movements in a slow-fast-slow-fast pattern. Also like Corelli, Geminiani published very little music, there being only three collections of concertos of which Opus 3 was the most important and popular. They are exceptionally well performed by Fabio Biondi, who is a real master of the Baroque violin. Sonics and presentation are truly first class as well. --David Hurwitz

Customer Reviews:

Noble melancholy.......2000-12-06

Before the late, galante Baroque familiar to drive-time classical music listeners, usually in the form of Vivaldi, there was a romantic Baroque. Romantic Baroque sought expressiveness in the midst of its contrapuntal intensity. J. S. Bach is a familiar late example of this deeply-felt Baroque intensity. Geminiani is another example who deserves a wider audience.

He gets just a footnote in the textbooks because he was not responsible for major technical innovations. His contemporaries referred to him as 'Il Furibondo,' sensing a certain wildness in his rhythmic and melodic intentions. This is not Baroque music for the dinner, the bathtub, or the drive home. This is Baroque music that demands your attention.

The concerti in minor keys display the most inspired melodies, and fortunately they predominate. Their contrapuntal depth is always several layers deeper than you'll hear in Vivaldi. The several reprises in Op. 3, no. 6, and the unusual gigue of the final Allegro will strike you with their inventiveness, as will the remarkable opening and fugato of the G minor No. 2.

This is a good performance and recording of these remarkable works. Geminiani is a composer who will serve you well to enoble your melancholy moods.

Average customer rating:

A unique but limited compilation
Very Redundant
Corelli's best work.

La Folia, Variations On A Theme

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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La Folia, 1490-1701
Altre Follie, 1500-1750
Geminiani: Concerti Grossi (after Corelli Op 5) /AAM * Manze
Biber: Violin Sonatas
Violin Sonatas Op 5

ASIN: B0000063BT
Release Date: 1998-03-10

Tracks:

Sonata In D Minor, Op. 5 No. 12
Les Follies d'Espagne
Primo e Secondo Libro di Toccate: Folia From Toccata No. 7 (Primo tono)
Trio Sonata In D Minor (Variations On 'La Folia'), RV63 (Op. 1 No. 12)
12 Variationen uber die Folie d'Espagne, Wq118,9,H263
Concerto Grosso 'La Folia' (After Corelli)

Customer Reviews:

A unique but limited compilation.......2005-07-11

I was drawn to this album for its unique compilation of "La folia" (pronounced "la foh-LEE-ah," literally meaning mad or empty-headed) -- arguably "the most lasting and famous tune in Western music" and "one of the most remarkable phenomena in the history of music," according to a breathtakingly comprehensive Web shrine, "La folia, a musical cathedral," which explores the hidden world of this famous 16th-century theme and endeavors to list all derivations and interpretations of it. The motif, with its characteristic harmonic pattern, has fascinated composers to the present day (many samples, including many by modern composers are available on that Web site).

Truly, as a theme and variations, this CD may seem repetitive and boring to some. That would be a matter of personal taste. However, I am rather fascinated with it, even more so as I have learned of its history. Among the most famous and influential variations (and my favorites) are those of Arcangelo Corelli (Track No. 1) and Antonio Vivaldi (Track No. 4). I also enjoy the Geminiani. (...)
For a bit of concise background, I excerpt and adapt a few paragraphs from "La folia, a musical cathedral." Its roots (linguistically, metaphorically, musically) of madness, dance, folly, fertility, and pleasure have captured the imagination of many. The taste offered by "La Folia, Variations on a Theme" is perhaps not yet the definitive collection, but for those entranced by La folia, it whets the appetite for more:

"'Folía' (modern spelling; the old spelling lacked the accent, as was the norm in Spain during the sixteenth and seventeenth centuries) is of Iberian origin and refers to a fertility dance in three-four time originating in the late 15th century. In music Folia meant, at least till the 1670s, a very quick-paced and tumultuous dance, in which the dancers carried men dressed as women upon their shoulders. They were literally driven mad by the noise and the stirring rhythm. The 'early' Folia is sometimes called Folías españolas while the 'later' Folia might be indicated as Folías italianas. Derived from the Tuscan term 'Folle' (meaning empty-headed) the title Follia (with double LL) is used by many Italian composers. . . . The English word Folly has roughly the same meaning as the Tuscan term. In France the structure and its variations became known as Folies d'Espagne, with reference to its presumed origin. . . .

"What is so special about this tune?

"(1) The instant appeal of the music might be explained in the human's pursuit for balance. Speaking from a musicological point of view we are dealing with almost perfect symmetry and intricate harmonic layering.

"(2) By far the most important reason is that it is very pleasant music to listen to. There is somehow an instant appeal for listeners and composers alike. It even sounds familiar when you have never heard the piece before. . . . Being captivated by the tune is of course a matter of personal taste, for there remain plenty of people who get bored by hearing only a couple of variations.

"(3) From 1672 up to now the theme has not lost its power. . . . Composers are always looking for something that will give a piece instant flavour and character. La Folia variations provide lots of freedom too because there are no fixed numbers of variations to complete nor has there to be any structure between the variations.

"(4) Finally there is the interesting social phenomenon that the music had its roots in popular culture and developed into a stately court dance; from a fertility dance for the people into a courtly flirtation."

Very Redundant.......2005-06-05

I bought this album for one piece, that being track number four. After I listened through the entire thing I found that I only liked tracks four and five, and after listening to those a two more times, I became very annoyed.
For those of you who don't know, La Folia is just a piece with the same repeating pattern. These patterns go on for one hour with this CD and become boring and annoying.
Tracks number four and five are really the only decent tracks on this album.
Don't become dissapointed with this CD like I did.

Corelli's best work........2000-09-01

This is a spectacular performance of one of Corelli's best work La Folia. I highly recomend this CD to people who like boroque music.

Average customer rating:

Lovely, lush, but old school
Beautiful music - played with the heart and skill
Very Satisfying
Perfect Gem for Geminiani

Geminiani: 12 Concerti Grossi

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000417X
Release Date: 1994-02-15

Tracks:

Concerto No. 1 In D: Grave - Allegro - Adagio
Concerto No. 1 In D: Allegro
Concerto No. 1 In D: Largo
Concerto No. 1 In D: Allegro
Concerto No. 2 In B Flat: Adagio
Concerto No. 2 In B Flat: Allegro
Concerto No. 2 In B Flat: Vivace
Concerto No. 2 In B Flat: Adagio
Concerto No. 2 In B Flat: Vivace
Concerto No. 3 In C: Adagio
Concerto No. 3 In C: Allegro
Concerto No. 3 In C: Adagio
Concerto No. 3 In C: Allegro
Concerto No. 4 In F: Adagio
Concerto No. 4 In F: Allegro
Concerto No. 4 In F: Vivace
Concerto No. 4 In F: Adagio
Concerto No. 4 In F: Allegro
Concerto No. 5 In G Minor: Adagio
Concerto No. 5 In G Minor: Vivace
Concerto No. 5 In G Minor: Adagio
Concerto No. 5 In G Minor: Allegro
Concerto No. 6 In A: Adagio
Concerto No. 6 In A: Allegro
Concerto No. 6 In A: Adagio
Concerto No. 6 In A: Allegro

Tracks:

Concerto No. 7 In D Minor: Preludio: Vivace
Concerto No. 7 In D Minor: Corrente: Allegro
Concerto No. 7 In D Minor: Sarabanda: Largo
Concerto No. 7 In D Minor: Giga: Allegro
Concerto No. 8 In E Minor: Preludio: Largo
Concerto No. 8 In E Minor: Allemanda: Allegro
Concerto No. 8 In E Minor: Sarabanda: Largo
Concerto No. 8 In E Minor: Giga: Allegro
Concerto No. 9 In A: Preludio: Largo
Concerto No. 9 In A: Giga: Allegro
Concerto No. 9 In A: Adagio
Concerto No. 9 In A: Tempo di Gavotta: Allegro
Concerto No. 10 In F: Preludio: Adagio
Concerto No. 10 In F: Allemanda: Allegro
Concerto No. 10 In F: Sarabanda: Largo
Concerto No. 10 In F: Gavotta: Allegro
Concerto No. 10 In F: Giga: Allegro
Concerto No. 11 In E: Preludio: Adagio
Concerto No. 11 In E: Allegro
Concerto No. 11 In E: Adagio
Concerto No. 11 In E: Vivace
Concerto No. 11 In E: Gavotta: Allegro
Concerto No. 12 In D Minor: 'La Follia'

Customer Reviews:

Lovely, lush, but old school.......2005-03-02

I agree with pretty much everything the other esteemed reviewers have said about these recordings. I grew up with them. They are indeed old friends! They are lush, well played and extremely well executed.

They are, however, reflective of where baroque music was back in I Musici's heyday 20 years ago. This makes them wonderfully played, but probably a bit tame. So much so, I was actually quite shocked that this was the recording of these I grew up with. The pace is almost languid.

There is no denying it, though, at the Philips DUO price, they remain a bargain. Other, more daring renditions have a more daring price too. So, pick your poison.

Beautiful music - played with the heart and skill.......2002-08-21

Geminiani was a student of Corelli and these 12 concerti are arrangements of Corelli's 12 violin sonatas. But they aren't slavish rewritings of the pieces. Certain things are kept, but much is new and even experimental for its time. For example, Geminiani use a four-part ripieno rather than the then traditional three-part group (the ripieno is the "soloist" group that plays with and against the larger ensemble - the concertino).

This is beautiful and fun music. Since Corelli's music was all the rage it was natural for composers to find ways to get the public (especially in England) more of it or at least music very much like it.

The recording is very nice and the playing is quite nice if not blazingly original. But do we need extreme individual statements in music of this type? I think a more subdued brand of personal expression is more suitable and I Musici gives us that.

I really do enjoy listening to this disk and believe you will, too.

Very Satisfying.......2000-08-05

These pieces are Corelli's 12 sonatas for violin and continuo. Geminiani arranged them for string quartet. The booklet that comes with the set expands on this and provides a little historical background. The music is emotionally satisfying, full of memorable melodies (one or two of which you might find yourself whistling in unguarded moments) and rich harmonies. And, as the first reviewer notes, I Musici plays them perfectly.

Perfect Gem for Geminiani.......2000-03-31

In these 12 concerti of Geminiani, I Musici creates lush and sumptuously sculpted melody and poignant phrasing in superbly balanced ensemble. There is nothing too emphatic or adventurous here - just gorgeous, sweet, emotional, frilly Baroque music played perfectly!

Average customer rating:

Ombra Mai Fu; Pachelbel Canon

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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ASIN: B00000C3HQ
Release Date: 1993-01-04

Average customer rating:

Italian Concerti Grossi

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005NBZV
Release Date: 2001-07-01

Tracks:

Il Pianto D'Arianna Con VI Quattor, Op. VII No.6: Andante-Allegro-Adagio-Andante-Allegro-Largo...
Son in d 'La Follia', Op.1, No.12: I. Adagio/II. Andante/III. Allegro/IV/V/VI/VII/VIII/IX...
Con A Quattro In Forma Pastorale Per Il Santo Natale, Op.8 No.6 'Christmas Con': I. Grave-Vivace...
Con A Quattro In Forma Pastorale Per Il Santo Natale, Op.8 No.6 'Christmas Con': II.Largo
Con A Quattro In Forma Pastorale Per Il Santo Natale, Op.8 No.6 'Christmas Con': III. Vivace
Con Grosso in f: I. Grave
Con Grosso in f: II. Allegro
Con Grosso in f: III. Largo
Con Grosso in f: IV. Allemande
Con Grosso No.12 in d 'Follia': I. Adagio/II/III. Allegro/IV/V/VI/VII/VIII/IX. Adagio/X. Vivace...
L'Estro Armonico: Con in d, Op.3 No.11: I. Allegro-Adagio E Spicato-Allegro
L'Estro Armonico: Con in d, Op.3 No.11: II. Largo E Spicato
L'Estro Armonico: Con in d, Op.3 No.11: III. Allegro

Average customer rating:

Geminiani: 12 Concerti Grossi

Manufacturer: Zig Zag Territoires
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-07-13

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Geminiani: Concerti Grossi 1-12
Ensemble 415
Manufacturer: Harmonia Mundi USA
ProductGroup: Music
Binding: Audio CD
ASIN: B000N0TQ84
Release Date: 2004-07-13

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