ARCANGELO CORELLI
Sonate à 3. Opera Quarta. Rome, 1694

CD I [42:20]

Sonata VI
1 Preludio. Adagio - Allegro - Adagio - Allegro - Adagio
2 Allemanda. Allegro
3 Giga. Allegro

Sonata XII
4 Preludio. Largo
5 Allemanda. Presto
6 Giga. Allegro

Sonata IV
7 Preludio. Grave
8 Corrente. Allegro
9 Adagio
10 Giga. Allegro

Sonata V
11 Preludio. Adagio
12 Allemanda. Allegro
13 Corrente. Vivace
14 Gavotta. Allegro [+ 2 Doubles]

Sonata I
15 Preludio. Largo
16 Corrente. Allegro
17 Adagio
18 Allemanda. Presto

Sonata X
19 Preludio. Adagio - Allegro - Adagio
20 Grave
21 Tempo di Gavotta. Presto

CD II [43:40]

Sonata III
1 Preludio. Largo
2 Corrente. Allegro
3 Sarabanda. Largo
4 Tempo di Gavotta. Allegro

Sonata VIII
5 Preludio. Grave
6 Allemanda. Vivace
7 Sarabanda. Allegro

Sonata VII
8 Preludio. Largo
9 Corrente. Vivace
10 Grave
11 Sarabanda. Vivace
12 Giga. Allegro

Sonata IX
13 Preludio. Largo
14 Corrente. Allegro
15 Grave
16 Tempo di Gavotta. Allegro

Sonata II
17 Preludio. Grave
18 Allemanda. Allegro
19 Grave
20 Corrente. Vivace

Sonata XI
21 Preludio. Largo
22 Corrente. Allegro
23 Allemanda. Allegro

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About this CD

The appointment in 1689 of Pietro Ottoboni as Cardinal of San Lorenzo in Damaso marked the beginning of one of the most splendid epochs of patronage of the arts in Rome. A passionate lover of music, Ottoboni gave his protection to numerous musicians: Handel, Pasquini, Scarlatti and Caldara all at some point worked at the cardinal’s court. A few months after his election, Ottoboni took into his service the famous violinist Arcangelo Corelli, who was employed not only as first violin and leader for the instrumental music, but had complete control also over the sumptuous musical events.

It was his Op. 4, the final collection of trio sonatas, that Corelli presented in 1694 as the expression of gratitude for the protection he had received from Cardinal Ottoboni. The set of twelve sonatas constituted the culmination of a symmetrical production that alternated collections of church (Op. 1 and 3) and chamber sonatas (Op. 2 and 4) and helped to establish Corelli’s music as models in the definition of these two genres.

In a recording made in June 2012 in Solomeo, in the region of Umbria, Enrico Gatti infuses these works with his special elegance and lightness, with his Ensemble Aurora creating once more a reading of the highest order, which any admirer of the best of Baroque Italian music will wish to return to, again and again.