Albicastro - Sonata “La Follia“, Concertos Op.7 (reference recording: Chiara Banchini, Ensemble 415)

Henrico Albicastro (1661 - ?) Sonata Op. 9 “La Follia“, Concerto Op. 7 00:00 Sonata Op. 9, No. 12 “La Follia“ 11:40 Concerto à 4, Op. 7, No. 2: I. Grave 13:17 Concerto à 4, Op. 7, No. 2: II. Allegro 16:05 Concerto à 4, Op. 7, No. 2: III. Grave 18:26 Concerto à 4, Op. 7, No. 2: IV. Allegro 20:03 Concerto à 4, Op. 7, No. 12: I. Affettuoso 22:09 Concerto à 4, Op. 7, No. 12: II. Allegro 24:17 Concerto à 4, Op. 7, No. 12: III. Grave 26:06 Concerto à 4, Op. 7, No. 12: IV. Allegro Violin: Chiara Banchini Cello: Hendrike ter Brugge Harpsichord: Gordon Murray Ensemble 415 Recorded in 1990, at Geneva 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): 🔊 Find our entire catalog on Qobuz: 🔊 Discover our playlists on Spotify: ❤ Support us on Patreon Jean-Yves Haymoz: “Albicastro was quite celebrated in his time, known in Germany, the Netherlands, and England as a virtuosic violinist and a composer in the Italian style that was fashionable then. In Bruges, he was considered one of the “principal Italian masters and authors to have appeared in the said art,“ and in England, he was recognized as an “eminent master.“ Johann Gottfried Walther mentions him in his Musikalisches Lexicon of 1723, and Johann Joachim Quantz noted that he practiced Albicastro’s works extensively in his youth. Albicastro’s body of work includes four opuses of trio sonatas, three of sonatas for violin and continuo, one set of Concerti grossi, and a motet titled Coelestes angelici chori for tenor or soprano, which remains in manuscript form. His style is Italian, and the inclusion of a Folia at the end of Opus V, reminiscent of Corelli, speaks volumes about his influences. Albicastro ranks among the southern German composers who drew heavily from the Italian style, such as Froberger, Walther, or Sebastian Scherer. From his music, it can be deduced that Albicastro was primarily a violin virtuoso who became a composer as a secondary pursuit. The practice of writing down the ideas born from his improvisational talent likely taught him the craft of composition over time. As we trace the chronology of his works, we see a growing refinement in his invention, command of imitation, and mastery of form, though some particular features, such as abrupt harmonic changes characteristic of the 17th-century Baroque era, remain constant. Contemporary commentaries on 17th and 18th-century instrumentalists reveal that Albicastro was admired primarily as a virtuoso. Like other virtuosi of his time, it was through ornamentation, improvisation, and his ability to bring out the affetti in his music that his genius developed. Today, all that remains are the notes with few indications, and much imagination is required to rediscover what was not written down. This music, therefore, demands musicians experienced in the rediscovered practices of Baroque musical performance.“ COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT Ep available // Allegri: Miserere (Psalm 50), IGA 2 by Sir David Willcocks 🎧 Qobuz (Hi-Res) Tidal (Hi-Res) 🎧 Apple Music (Lossless) Deezer (Hi-Fi) 🎧 Amazon Music (Hi-Fi) Spotify (mp3) 🎧 Youtube Music (mp4) Baroque Composers PLAYLIST (XVII-XVIII Centuries)