Thank you so much and sorry to have missed this earlier! This means a lot to us as your recording of this very piece was really inspiring to us! Thank you for contributing so much to the UA-cam scene for early music! Merry Christmas from Singapore =)
Arcangelo Corelli was a renowned violinist and composer who spent his entire career in Rome. He performed in the theater, composed for the church, and then in the service of cardinals, but also powerful patrons. Corelli was a gifted instrumentalist but unlike his contemporaries, the musician did not compose operas or sacred vocal music. His production modest but splendid focused essentially on instrumental music and includes notably five sets of 12 sonatas for one or two violins and also of 12 Concerti Grossi published posthumously in 1714 as his Opus 6. With this last collection, Corelli stands out as one of the great masters with Giuseppe Torelli, of the concerto grosso. This genre, eminently representative of Baroque aesthetics, plays on the opposition between a group of soloists, the « concertino » and the « ripieno », whose effective can be expanded at will in order to punctuate or reinforce the intervention of the soloists. The fourth concerto « in D major » is noteworthy for its suave and serene introduction, the exceptionally well-balanced and harmony, and finally the Coda which concludes the last movement. The movements of Op. 6, No. 4 follow the layout of another important type of Baroque instrumental music: the church sonata. The majestic opening of the - Adagio - sets a festive tone, as to the ensuing - Allegro - is a writing contrapuntal in texture, abounding orchestral interactions. The second - Adagio - with its gentle melody, offers a lyrical contrast reminiscent of the opening of the Concerto. The composer expands the concluding fast section into two movements, both of which are marked by transparent textures and a prevailing feeling of lightnes, an elegant melody unfolds over a propulsive bass line in the -Vivace - and the final - Allegro - is infused with the spirit of the dance. Arcangelo Corelli asserts the independence of the violin with the desire to remain within the limits of the vocal range and a concern for simplicity in the exploitation of the resources of the instrument to which he refuses useless virtuosity. *Lucien*
A bag full of deep emotions brought by your interpretation of this piece that i have heard hundreds of times since childhood. High caliber performance. I wish some label offered you a recording contract.
What a so great performance!!! Corelli is one of my favorite composers, and I played some pieces of him in my study time.(Basso Continuo) I am glad to listen this playing.
Beautiful.
Thank you so much and sorry to have missed this earlier! This means a lot to us as your recording of this very piece was really inspiring to us! Thank you for contributing so much to the UA-cam scene for early music! Merry Christmas from Singapore =)
The great Corelli would have applauded this performance....
How does this not have 1000s of likes. GREAT VIDEO
Thank you, glad you enjoyed it :)
Arcangelo Corelli was a renowned violinist and composer who spent his entire career in Rome. He performed in the theater, composed for the church, and then in the service of cardinals, but also powerful patrons. Corelli was a gifted instrumentalist but unlike his contemporaries, the musician did not compose operas or sacred vocal music. His production modest but splendid focused essentially on instrumental music and includes notably five sets of 12 sonatas for one or two violins and also of 12 Concerti Grossi published posthumously in 1714 as his Opus 6. With this last collection, Corelli stands out as one of the great masters with Giuseppe Torelli, of the concerto grosso. This genre, eminently representative of Baroque aesthetics, plays on the opposition between a group of soloists, the « concertino » and the « ripieno », whose effective can be expanded at will in order to punctuate or reinforce the intervention of the soloists. The fourth concerto « in D major » is noteworthy for its suave and serene introduction, the exceptionally well-balanced and harmony, and finally the Coda which concludes the last movement. The movements of Op. 6, No. 4 follow the layout of another important type of Baroque instrumental music: the church sonata. The majestic opening of the - Adagio - sets a festive tone, as to the ensuing - Allegro - is a writing contrapuntal in texture, abounding orchestral interactions. The second - Adagio - with its gentle melody, offers a lyrical contrast reminiscent of the opening of the Concerto. The composer expands the concluding fast section into two movements, both of which are marked by transparent textures and a prevailing feeling of lightnes, an elegant melody unfolds over a propulsive bass line in the -Vivace - and the final - Allegro - is infused with the spirit of the dance. Arcangelo Corelli asserts the independence of the violin with the desire to remain within the limits of the vocal range and a concern for simplicity in the exploitation of the resources of the instrument to which he refuses useless virtuosity. *Lucien*
Excellent
A bag full of deep emotions brought by your interpretation of this piece that i have heard hundreds of times since childhood. High caliber performance. I wish some label offered you a recording contract.
Smooth
What a so great performance!!! Corelli is one of my favorite composers, and I played some pieces of him in my study time.(Basso Continuo) I am glad to listen this playing.
Bravi!
Que harmonia maravilhosa. Um excelso som, que faz bem ao espírito.
Parabéns!
Tenho um sonho de um dia interpretar da mesma maneira e intensidade.
Muito obrigato! :)
muy buena interpretación
Thank you!
Japanese, Koreans, etc. Can somebody tell me pls.
Excellent interpretation!! Congratulations!! You are excellent musicians!!
singaporeans!
Good performance. Cello player had problem with his hair.