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Research by Hans Joachim Marx and, later, of Franco Piperno into the documents relating to the performances which took place in Rome under the patronage of the Ottoboni (but also of the Accademia del Disegno di S Luca and the Ruspoli family), testify to the existence of a practice which has been hitherto ignored: that of doubling the instrumental music composed and conducted by Corelli with all sorts of wind instruments.
This practice, amply documented by the many payrolls of the musicians hired by Corelli, forces us to re-examine his music from a totally different point of view from that which has prevailed up until now, one which has been entirely dedicated to the faithful reproduction of the compositions printed by Roger in 1714.
This is therefore the first complete performance of the twelve Concerti Grossi by Corelli which attempts to reconstruct accurately the historical musical context in which these works were created and glorified. A context which is rich, sumptuous and paradigmatic, and which has constituted for decades the European model to which musicians and patrons alike looked with admiration.
Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 1
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 2
I. Vivace - Allegro
III. Vivace - Allegro
IV. Largo andante
VI. Grave - Andante largo
Arcangelo Corelli: Concerto Grosso in C Minor, Op. 6, No. 3
Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 4*
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 12
I. Preludio: Adagio
IV. Sarabanda - Vivace
V. Giga - Allegro
“Sardelli devised an ingenious approach to re-orchestration so that we hear Corelli's famous concertos clothed in a wider range of colourful instrumentations...This ranks as a fascinating and thoroughly enjoyable alternative view of these iconic works.”