Sonata Op. 3 No. 9 in f minor I. Grave 0:10 II. Vivace 1:48 III. Largo 2:44 IV. Allegro 4:10 Sonata Op. 3 No. 10 in a minor I. Vivace 6:00 II. Allegro 6:40 III. Adagio 7:46 IV. Allegro 8:22 Sonata Op. 3 No. 11 Sonata Op. 3 No. 12
I think they did, it's very common practice with baroque music to play a semitone lower, sometimes even more, this use comes from fact, that in the baroque era, there was lot of temperaments and the temperaments weren't equal, aside from this " temperament thing " , tone A wasn't as we know today 440hz, across the world there was various values of the A depends on country, cities and orchestras
@@samuellihotsky8606 I could add that this music was made to be accompagned by a church organ like in the church sonatas and that tempérament and tone was given by the tuning of the organ linked to the size of the pipes. This one would differ from northern Europe from south Europe thus those organs were not 440 but lower.
![12 Trio Sonatas / Sonate da chiesa, Op. 3 [2/3] - Corelli (Score)](http://i.ytimg.com/vi/vho7GO3K9ks/mqdefault.jpg)
Sonata Op. 3 No. 9 in f minor
I. Grave 0:10
II. Vivace 1:48
III. Largo 2:44
IV. Allegro 4:10
Sonata Op. 3 No. 10 in a minor
I. Vivace 6:00
II. Allegro 6:40
III. Adagio 7:46
IV. Allegro 8:22
Sonata Op. 3 No. 11
Sonata Op. 3 No. 12
Thank you.
You're welcome!
5:55
11:33 this motive in this fugue has been developed in Bach music later
Bach influences from Corelli and Marcello is clear I think.
Did you intentionally flatten 1 semitone from the sheet music?
I think they did, it's very common practice with baroque music to play a semitone lower, sometimes even more, this use comes from fact, that in the baroque era, there was lot of temperaments and the temperaments weren't equal, aside from this " temperament thing " , tone A wasn't as we know today 440hz, across the world there was various values of the A depends on country, cities and orchestras
@@samuellihotsky8606 I could add that this music was made to be accompagned by a church organ like in the church sonatas and that tempérament and tone was given by the tuning of the organ linked to the size of the pipes. This one would differ from northern Europe from south Europe thus those organs were not 440 but lower.