Jonathan Nubel, Le Moment Baroque - Alle lacrime - Concerti grossi in the legacy of Corelli (2026) [Hi-Res]

Tracklist

01. Concerto in sette parti in F Major, No. 3: I. Allegro
02. Concerto in sette parti in F Major, No. 3: II. Largo
03. Concerto in sette parti in F Major, No. 3: III. Allegro
04. Concerto in sette parti in F Major, No. 3: IV. Largo
05. Concerto in sette parti in F Major, No. 3: V. Allegro
06. Concerto grosso en D Minor, No. 5 (d’après D. Scarlatti): I. Largo
07. Concerto grosso en D Minor, No. 5 (d’après D. Scarlatti): II. Allegro
08. Concerto grosso en D Minor, No. 5 (d’après D. Scarlatti): III. Andante moderato
09. Concerto grosso en D Minor, No. 5 (d’après D. Scarlatti): IV. Allegro
10. Concerto à 5 in F Major, Op. 1 No. 7: I. Allegro
11. Concerto à 5 in F Major, Op. 1 No. 7: II. Largo
12. Concerto à 5 in F Major, Op. 1 No. 7: III. Allegro
13. Concerto grosso in A Major, Op. 2 No. 1: I. Spiritoso
14. Concerto grosso in A Major, Op. 2 No. 1: II. Allegro assai
15. Concerto grosso in A Major, Op. 2 No. 1: III. Andante
16. Concerto grosso in A Major, Op. 2 No. 1: IV. Allegro
17. Concerto à 5 in C Minor, Op. 1 No. 11: I. Largo
18. Concerto à 5 in C Minor, Op. 1 No. 11: II. Allemanda (Allegro)
19. Concerto à 5 in C Minor, Op. 1 No. 11: III. Sarabanda (Largo)
20. Concerto à 5 in C Minor, Op. 1 No. 11: IV. Giga (Allegro)
21. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: I. Andante
22. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: II. Allegro
23. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: III. Adagio
24. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: IV. Andante
25. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: V. Allegro
26. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: VI. Largo
27. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7, No. 6: VII. Largo andante
28. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: VIII. Grave
29. Concerto grosso in E-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: IX. Allegro
30. Concerto grosso in B-Flat Major « Il pianto d’Arianna », Op. 7 No. 6: X. Largo

When the great Arcangelo Corelli died in January 1713, he left not only the memory of an immense violin virtuoso but also a legacy that would profoundly influ­ence his successors in Italy and beyond. Georg Muffat, in a spirit of harmonious collaboration, while bringing to Germany the elegance and discipline of Lully’s French violins, became an ambassador of the Roman concerto grosso, composing pieces himself in the style of his illustrious contemporary. Muffat presents this genre as something of an orchestral evolution of the trio sonata, meaning that it shares certain formal characteristics (the distinction between the da camera genre, with its suite of dances, and the da chiesa genre, more contrapuntal and abstract) but perhaps also its spirit: chamber music “augmented” by the colors of the orchestra, allowing for all kinds of contrasts and nuances. This type of orchestration, which creates a dialogue between two groups of instruments, also finds its origins in the develop­ment of the oratorio during the 17th century and goes hand in hand with a progressive emancipation of instruments and the birth of the “orchestra,” in a sense close to that which we use it today. Corelli was probably inspired by his colleague Stradella, who seems to have been the first to propose this division into concertino and ripieno in instrumental pieces. Corelli’s twelve concerti grossi of Opus 6, published posthumously in 1714, became an absolute model of the genre for both his contemporaries and suc­cessors, thanks to their formal perfection and the compositional principles they employed.