Sonate E Balletti

Ensemble Clematis geeft ons hier de eerste volledige bloemlezing van de instrumentale werken van Legrenzi. De fijne verscheidenheid aan stijlen, zorgen er voor dat zijn muziek nog steeds dicht in de geest van Biagio Marini en Vivaldi blijft .

Sonata prima
Sonata terza à 3
Balletto primo [Alemanda]
Corrente terza, Op. 16
Sonata in G major 'La Pezzoli'
Trio Sonata, Op. 2 No. 8 'La Foscari'
Sonata da Camera La Forni a 3
La Marinona a 5, Op. 8
La Frangipana a due violini, Op. 2
Sonata Op. 8 'La Basadonna'
Sonata Op. 8 No. 10 'La Cremona'
L'Obizza a 2, Op. 8
Sonata seconda a 4, Op. 10
Balletto quarto, Op. 4
Corrente terza, Op. 4
Sarabanda prima, Op. 4
Alemanda terza La Piloni, Op. 4
La Zabarella a 3, Op. 2
La Squarzona a 5, Op. 8
La Cornara a due Violini, Op. 2
Balletto secondo, Op. 16
Corrente nona [Ciaconna], Op. 16
Sonata quarta a 2, Op. 10
Sonata sesta à 4

After Carlo Farina and the Vitalis, Clematis continues its exploration of the Italian Baroque instrumental repertoire with Giovanni Legrenzi. The Sonatas taken from the collections he published in Venice between 1655 and 1673 feature highly diverse forms ranging from the trio sonata up to larger forms for 4, 5, or 6 parts and even double choir. His final collection of instrumental music, Balletti e Correnti, published in 1691, offers us a very different view of instrumental music in which certain French influences cannot be denied. Here, Clematis gives us the first complete anthology of his instrumental works. The variety of forms and forces ensures this disc with a fine diversity of styles from sonatas still close in spirit to those of Biagio Marini up to those for four violins foreshadowing the generation of Vivaldi. Recorded in two different locations, this anthology lets us discover these compositions in the sonority either of the church with its choir organ or, more intimate, the chamber.