Carbonelli - Sonate da Camera 7-12
£10.93
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Label: Delphian
Cat No: DCD34214
Format: CD
Number of Discs: 1
Genre: Chamber
Release Date: 26th July 2019
Contents
Works
Sonate da Camera (12)Artists
Bojan Cicic (violin)The Illyria Consort
Works
Sonate da Camera (12)Artists
Bojan Cicic (violin)The Illyria Consort
About
Now they bring to Carbonelli’s other six surviving sonatas the same intelligence, sensitivity and sheer, exhilarating virtuosic brilliance with which they proved him to be so much more than just a ‘follower of Corelli’ or ‘contemporary of Vivaldi’. For good measure they add in a fine concerto by the latter that bears Carbonelli’s name, and which amply demonstrates the respect in which he was held in his native Italy before setting off to find his fame and fortune in England.
‘a superb and passionate performance … the future of the Illyria Consort is bright’ – ★★★★★ BBC Music Magazine
Sound/Video
Paused
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1Concerto In B Flat 'Il Carbonelli' RV 366: I. Allegro (Vivaldi)
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2Concerto In B Flat 'Il Carbonelli' RV 366: II. Adagio
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3Concerto In B Flat 'Il Carbonelli' RV 366: III. Allegro (Vivaldi)
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4Sonata No. 7: I. Largo
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5Sonata No. 7: II. Andante
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6Sonata No. 7: III. Adagio
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7Sonata No. 7: IV. Giga
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8Sonata No. 8: I. Largo – Andante – Largo
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9Sonata No. 8: II. Allegro
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10Sonata No. 8: III. Allegro
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11Sonata No. 8: IV. Largo
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12Sonata No. 9: I. Largo
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13Sonata No. 9: II. Allegro
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14Sonata No. 9: III. Adagio
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15Sonata No. 9: IV. Siciliana
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16Sonata No. 10: I. Largo
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17Sonata No. 10: II. Allegro
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18Sonata No. 10: III. Largo
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19Sonata No. 10: IV. Giga
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20Sonata No. 11: I. [Adagio]
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21Sonata No. 11: II. Allegro
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22Sonata No. 11: III. Adagio
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23Sonata No. 11: IV. Allegro
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24Sonata No. 11: V. Giga
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25Sonata No. 12: I. Largo
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26Sonata No. 12: II. Andante
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27Sonata No. 12: III. Aria
Europadisc Review
Carbonelli's music lay in almost complete neglect for centuries, until Bojan Čičić and his Illyria Consort recorded the first six of the violin sonatas on a critically acclaimed recording for Delphian in 2017. They followed up that success with a disc of 'London' Concertos by the intriguing Giovanni Giornovich in spring 2019. Now Čičić and his enterprising colleagues return to Carbonelli for the last six of the sonatas, and they are every bit as entertaining and beguiling as the first half of the set. Unlike sonatas 1-6, which despite their title had distinct overtones of the ‘church sonata’ (‘sonata da chiesa’) genre thanks to the inclusion of fugal movements, sonatas 7-12 are much more firmly in the ‘da camera’ style. Three of them (nos. 7, 10 and 11) include a Giga (jig) movement, a genre beloved by contemporary British and Irish audiences, and all of them include recognisable dance types such as the allemanda, corrente, sarabanda and gavotta. This proliferation of dance movements lends these works a relaxed buoyancy that is immediately engaging, especially when performed with such flair and lightly-worn virtuosity as they are here. Most are in the four-movement Corellian form, usually following the slow-fast-slow-fast template, but there is variety aplenty, likewise enhanced by a continuo group that variously includes theorbo, archlute and baroque guitar (all played by David Miller), harpsichord and organ (Stephen Devine), and Susanne Heinrich on a 7-string bass viol.
Musically these works range from the graceful and stately no.7 in A major, via the pastoral tones of the structurally inventive no.8 in G major and the dark, turbulent no.10 in G major, to the splendidly Vivaldian five-movement no.11 in A major (enlivened by the participation of guitar), and the three-movement no.12 in B minor, which concludes with an impressive Air and variations bringing the cycle as a whole to a satisfying close. Čičić is constantly alive to the variety of moods in these sonatas, well versed as he is in the niceties of period style, and he is equally accomplished at handling their often considerable technical challenges, including multiple-stopping and rapid string-crossing. His tone has a sinewy strength which is nevertheless capable of great beauty in the more reflective movements, and his colleagues are just as sensitive and accomplished. Often arresting, sometimes soothing and always entertaining, these are performances to enjoy over and over again.
Carbonelli may have been closer musically to Corelli in many ways, but he was clearly also admired by Vivaldi (his senior by 16 years). As a considerable bonus this dazzling disc opens with Vivaldi’s Violin Concerto in B flat major, RV366, subtitled ‘Il Carbonelli’ and evidently played by the young violinist in or around 1716 in Venice, and later taken up by Vivaldi’s star pupil Anna Maria at the Ospedale della Pietà. Here the Illyria Consort, enlarged in the outer movements to eight players, deliver the work with tremendous aplomb, Čičić again dispatching the solo part with great style and verve (especially the ear-catching bariolage in the finale).
Anyone who has heard the first disc in this cycle will know what to expect, and will certainly not be disappointed by this marvellous, enthralling follow-up. The recording, made in St Martin’s, East Woodhay by Delphian’s Paul Baxter, does the musicians ample justice and is attractively presented, with notes by Vivaldi and Carbonelli expert Michael Talbot. Immensely enjoyable from start to finish.
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