Here's the revised program for the New Year's Day concerts.
Sonata a Tre, Op 1, No. 9 in G Major Arcangelo Corelli (1653-1713)
Sonata in C maj. for violin & continuo Antonio Vivaldi (1678-1741)
Passacaglia in g minor Georg Muffat (1653-1704)
Fantasia No. 10 in D Maj. Georg Philipp Telemann (1681-1767)
Sonata Prima a Doi Violini Biagio Marini (c1597-1665)
Ceccona Giovanni Zamboni (fl. early 18th c.)
Gulliver Suite Telemann
Intrada-Lilliputsche Chacconne- Brobdingnagische Gigue-Reverie der Laputier, nebst ihren Aufweckern-Loure der gesitten Houyhnhnms & Furie der unartigen Yahoos
Sonata a Tre, Op 1, No. 10 in G minor Corelli
We begin and end our concert with some of the most influential music of the period. It is impossible for us to overstate the popularity of Corelli’s trio sonatas, so we should leave it to Roger North, writing in the early 18th century, to tell us what the sonatas did, at least, to English musical culture. They ‘cleared the ground of all other sorts of musick whatsoever’ and ‘are to the musitians like the bread of life’ and contributed, with opera, to the ‘circumstances which concurred to convert the English Musick intirely over from the French to the Italian taste’. Corelli’s Opus 1 and 3 sonatas are scored for two violins, organ continuo with ‘violone or arciliuto’ as the melodic bass instrument.
As well as this suite on Swift’s Gulliver’s Travels Telemann wrote other ‘programmatic’ including orchestral suites depicting life on the river that runs through Hamburg, the battles of the Frankfurt stock exchange and the tales from Cervantes’ Don Quixote. We print the scores of two of the movements which show the tiny note values he uses for the Lilliputians (they are 256th notes, or, we think, demisemihemidemisemiquavers) and the huge time signature and note values he uses for the giant Brobdingnagians (their jig is in 24-1). Telemann’s unaccompanied violin Fantasias are far less famous than Bach’s solo violin works.
Printed in Lucca in 1718, the Sonate d’intavolatura di leuto Zamboni, a Roman who was lutenist at Pisa Cathedral, represents the swansong of Italian solo lute music, though the instrument continued to be used as a continuo instrument and as an obbligato instrument in operas and oratorios till the end of the baroque.