Ignazio Albertini - Sonatas for Violin and Basso Continuo (Century’s recording: Hélène Schmitt)

Ignazio Albertini (1644-1685) Sonatas for Violin and Basso Continuo. Click to activate the English subtitles for the presentation (00:00-05:36) 00:00 Sonata I, ré mineur violon, orgue, théorbe 08:01 Sonata II, Fa majeur violon, clavecin 13:51 Sonata III, si mineur violon, orgue, théorbe 19:47 Prélude pour théorbe (Angelo Michele Bartolotti) 23:43 Sonata IV, do mineur violon, clavecin, théorbe 30:19 Sonata V, La majeur violon, clavecin, violone 37:11 Sonata VII, la mineur violon, orgue, théorbe 44:04 Toccatina pour clavecin (Ferdinand Tobias Richter) 48:33 Sonata VIII, ré mineur violon, clavecin, théorbe 55:36 Prélude pour théorbe (Bartolotti) 56:31 Sonata X, mi mineur violon, violone, théorbe, orgue 1:04:48 Toccata V pour clavecin (Johann Kaspar Kerll) 1:07:36 Sonata XI, sol mineur violon, clavecin 1:12:58 Sonata XII, la mineur violon, violone, orgue Violon: Hélène Schmitt Clavecin et Orgue: Jörg-Andreas Bötticher Théorbe: Karl-Ernst Schröder Violone: David Sinclair Recorded in 2001, at Paris New mastering in 2022 by AB for CMRR Painting: Guido Cagnacci (1601-1663) The death of Cleopatra 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : 🔊 Download CMRR’s recordings in High fidelity audio (QOBUZ) : ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) The title page bears the name ’Sonatinae’ (Sonatinas’, rather than ’Sonatas’). This may be simply a sign of humility (the work being dedicated to the emperor). Indeed, each piece is entitled ’Sonata’ on the inside pages. At any rate, both compositionally and technically, these pieces easily hold their own against the other great violin sonatas of the time. The technical demands on the violinist are very high, with swift passage work, sometimes including great leaps, which not only bring about sudden changes of register but also provide motivic material, as for example in the ’Praeludium’ of Sonata V. Double stopping is used only sparingly, except in the last sonata, where it is most conspicuous. Albertini thus took up an idea that had been used by Biber in his sonata collection of 1681, which ends with a ’trio sonata’ for a single violin and continuo. Albertini was an Italian musician who adopted the stylistic features of the northern culture in which he was active. Furthermore, his contemporaries regarded him as a fine representative of that culture. And it is interesting to note that his music appears in a Viennese manuscript of 1690 containing over a hundred sonatas, practically all of them written b German-speaking composers. These hitherto little known works by Albertini undoubtedly make a remarkable contribution to the sonata repertoire. Thomas Drescher, 9 June 2002 (Translation: Mary Pardoe) Click to activate the English subtitles for the presentation (00:00-05:36) Baroque Composers (XVII-XVIII Centuries):