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VERITÀ BAROQUE Ensemble
VERITÀ - A.Caldara - Cello Sonata no. 16 in G
Antonio Caldara (1670-1736) Cello Sonata no. 16 in Sol maggiore Adagio - Allegro - Largo - Allegro Cello: Bartolomeo Dandolo Marchesi Violone in G: Juliane Bruckmann Theorbo: Jeremy Nastasi Hapsichord: Shin Hwang VERITÀ ensemble: https://www.veritaensemble.com Donate: https://ci.ovationtix.com/35560/store... Facebook: https://m.facebook.com/veritaensemble/ Instagram: https://www.instagram.com/verita_ense...
VERITÀ - A.Lotti Trio Sonata in G Major
Taya König-Tarasevich - Flute Bartolomeo Dandolo Marchesi - Cello Alexander von Heißen - Harpsichord VERITÀ ensemble: https://www.veritaensemble.com Donate: https://ci.ovationtix.com/35560/store/donations/40667 Facebook: https://m.facebook.com/veritaensemble/ Instagram: https://www.instagram.com/verita_ensemble/ Lotti, Antonio (1667-1740) Trio Sonata in G major for Flute, Gamba/Cello andContinuo 0:06 Largo 1:42 Allegro 3:11 Adagio 5:11 Vivace Not only German musicians were hired by the courts: the organist Antonio Lotti was appointed by Frederich Augustus I of Saxony as resident composer of sacred and secular music for the Dresden court. As Lotti attempted to bring Italian opera troups to perform his work, several German musicians (among them Johann Christoph Schmidt) saw him as a threat and attempted to thwart his musical presence and influence in the court. Perhaps this lead to his eventual retreat back to Venice, where he was highly sought after as a composition teacher. Experienced in both sacred and secular music, as well as vocal and instrumental texture, Lotti displays a mastery of compositional techniques. In his Trio for flute, viola da gamba and harpsichord, Lotti does not shy from showing the affordances of the particular solo instruments. One question does arise for the performer: was viola da gamba the bass instrument that the second solo part written for? Though we may never be sure, the fact that Lotti doesn’t use the two lowest strings of viola da gamba cause the speculation whether it was a different instrument this part was written for. Could the four-stringed Violoncello Piccolo have been the intended instrument by Lotti?
VERITÀ - N.Porpora/G.B.Costanzi Cello Sonata in G major
Taya König-Tarasevich - Flute Bartolomeo Dandolo Marchesi - Cello Alexander von Heißen - Harpsichord VERITÀ ensemble: https://www.VERITAensemble.com Support: https://gofund.me/569d41da Donate: https://ci.ovationtix.com/35560/store/donations/40667 Facebook: https://m.facebook.com/veritaensemble/ Instagram: https://www.instagram.com/verita_ensemble/ Porpora, Nicola (1686-1768)/Costanzi, Giovanni Battista (1704-1778) Sonata in G major 00:06 Adagio 2:19 Allegro 5:11 Adagio staccato We present a work with mysterious origins: In 1745 John Walsh published a co-authored set of works by Nicola Porpora and Giovanni Battista Costanzi. Such rare cooperation causes one to wonder why the work was published as such: Did both composers truly contribute equally to each work? Or had they compiled works that they individually composed? To add to the confusion, no complete score exists. With a book of the Violin Primo, the Violin Secondo, and yet another of the obligato cello along with the figured bass – the musicians are left to piece together a puzzle: Had this work been intended for two violins? Two cellos? In any case, we took the liberty to arrange it for two melodic instruments which presented very few challenges. As Porpora generally attempted to emulator the human voice and its expressiven nuances, his works seem to suit all melody instruments. Especially notable in this set is the slow movement, where the fundamental roles of the flute and cello are inverted, with the flute accompanying the cello’s lament.