Artist: Freiburger Barockorchester
Album: Corelli: Concerti Grossi, Sinfonia to Santa Beatrice d’Este
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:10:35
Total Tracks: 30
Total Size: 1,24 GB

Tracklist:

1-01. Freiburger Barockorchester – Sinfonia To Santa Beatrice D’este In D Minor, Woo 1: I. Grave (02:08)
1-02. Freiburger Barockorchester – Sinfonia To Santa Beatrice D’este In D Minor, Woo 1: Ii. Allegro (01:29)
1-03. Freiburger Barockorchester – Sinfonia To Santa Beatrice D’este In D Minor, Woo 1: Iii. Adagio Assai (00:43)
1-04. Freiburger Barockorchester – Sinfonia To Santa Beatrice D’este In D Minor, Woo 1: Iv. Largo Assai (02:48)
1-05. Freiburger Barockorchester – Sinfonia To Santa Beatrice D’este In D Minor, Woo 1: V. Vivace (01:53)
1-06. Freiburger Barockorchester – Concerto Grosso No. 1 In D Major, Op.6: I. Largo – Allegro (03:12)
1-07. Freiburger Barockorchester – Concerto Grosso No. 1 In D Major, Op.6: Ii. Largo (01:19)
1-08. Freiburger Barockorchester – Concerto Grosso No. 1 In D Major, Op.6: Iii. Allegro – Largo – Allegro (04:15)
1-09. Freiburger Barockorchester – Concerto Grosso No. 1 In D Major, Op.6: Iv. Allegro (03:52)
1-10. Freiburger Barockorchester – Concerto Grosso No. 2 In F Major, Op. 6: I. Vivace – Allegro – Adagio – Vivace – Allegro – Largo – Andante (03:57)
1-11. Freiburger Barockorchester – Concerto Grosso No. 2 In F Major, Op. 6: Ii. Allegro (01:45)
1-12. Freiburger Barockorchester – Concerto Grosso No. 2 In F Major, Op. 6: Iii. Grave – Andante Largo (01:38)
1-13. Freiburger Barockorchester – Concerto Grosso No. 2 In F Major, Op. 6: Iv. Allegro (02:06)
1-14. Freiburger Barockorchester – Concerto Grosso No. 3 In C Minor, Op. 6: I. Largo (02:33)
1-15. Freiburger Barockorchester – Concerto Grosso No. 3 In C Minor, Op. 6: Ii. Allegro – Adagio (02:05)
1-16. Freiburger Barockorchester – Concerto Grosso No. 3 In C Minor, Op. 6: Iii. Grave (01:49)
1-17. Freiburger Barockorchester – Concerto Grosso No. 3 In C Minor, Op. 6: Iv. Vivace (02:13)
1-18. Freiburger Barockorchester – Concerto Grosso No. 3 In C Minor, Op. 6: V. Allegro (02:19)
1-19. Freiburger Barockorchester – Concerto Grosso No. 4 In D Major, Op. 6: I. Adagio – Allegro (03:26)
1-20. Freiburger Barockorchester – Concerto Grosso No. 4 In D Major, Op. 6: Ii. Adagio (01:48)
1-21. Freiburger Barockorchester – Concerto Grosso No. 4 In D Major, Op. 6: Iii. Vivace (01:00)
1-22. Freiburger Barockorchester – Concerto Grosso No. 4 In D Major, Op. 6: Iv. Allegro (03:03)
1-23. Freiburger Barockorchester – Concerto Grosso No. 5 In B-Flat Major, Op. 6: I.Adagio – Allegro (03:19)
1-24. Freiburger Barockorchester – Concerto Grosso No. 5 In B-Flat Major, Op. 6: Ii. Adagio (01:46)
1-25. Freiburger Barockorchester – Concerto Grosso No. 5 In B-Flat Major, Op. 6: Iii. Allegro – Adagio (02:01)
1-26. Freiburger Barockorchester – Concerto Grosso No. 5 In B-Flat Major, Op. 6: Iv. Largo – Allegro (02:48)
1-27. Freiburger Barockorchester – Concerto Grosso No. 7 In D Major, Op. 6: I. Vivace – Allegro – Adagio – Vivace – Allegro (04:16)
1-28. Freiburger Barockorchester – Concerto Grosso No. 7 In D Major, Op. 6: Ii. Andante – Largo (02:31)
1-29. Freiburger Barockorchester – Concerto Grosso No. 7 In D Major, Op. 6: Iii. Allegro (01:11)
1-30. Freiburger Barockorchester – Concerto Grosso No. 7 In D Major, Op. 6: Iv. Vivace (01:06)

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The Concertos Op. 6 by Corelli were his last published work (in 1714), which doesn’t necessarily mean that these twelve concertos were all written in the composer’s later period – at the time, collections would sometimes be made bringing together works from very varied periods in an artist’s life. Here are six of the dozen, kicking off with the Sinfonia pour Santa Beatrice d’Este; the selection is moves towards “church” concertos, slow-fast-slow-fast, which differ from the “chamber” concertos, whose format tends to follow that of dance suites. Op. 6 contains eight “chamber” (including the famous Christmas Concerto, not included here) and four “church”.This recording was made by the Freiburger Barockorchester, under Gottfried von der Goltz, and it differs quite radically from many previous recordings in one key sense: yes, the published score only includes strings, but we know that in Corelli’s day it was standard practice to fill out orchestras with various wind instruments and continuos. The lists of players, and even the payrolls, which have survived to this day from the start of the 18th century show that oboes, bassoons, and even horns were added, and that’s precisely what has happened here. The result is definitely a richer ensemble sound; and at the same time it’s clear that the concertino (the three soloists) is still just two violins and a cello. It’s the orchestra that’s symphonising. This is sure to unsettle those who are used to more traditional recordings, even in the world of baroque.