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Francesco Bonporti : Sonates pour 2 violons, op. 1. Labirinti Armonici.
Format : 1 CD
Total Time : 01:00:43

Recording : 13-15/04/2018
Location : Lana
Country : Italie
Sound : Eglise / Stereo

Label : Brilliant
Catalog No. : BRIL95966
EAN : 5028421959665
Price Code : DM009A

Publishing Year : 2020
Release Date : 04/03/2020

Genre : Classical
Francesco Antonio Bonporti (1672-1749)
Sonates pour 2 violons et basse continue, op. 1
Sonate n° 1 en ré majeur
Sonate n° 2 en si bémol majeur
Sonate n° 3 en sol mineur
Sonate n° 4 en si mineur
Sonate n° 5 en ré mineur
Sonate n° 6 en fa majeur
Sonate n° 7 en mi majeur
Sonate n° 8 en la mineur
Sonate n° 9 en do majeur
Sonate n° 10 en la majeur

Labirinti Armonici
Andrea Ferroni, violon
Josef Höhn, violon
Ivo Brigadoi, violoncelle
Marian Polin, clavecin, orgue

Polished, historically informed accounts of little-known trio sonatas from the high noon of the Italian Baroque. ‘The playing is of a high order,’ observed Early Music World when reviewing Labirinti Armonici’s debut on Brilliant Classics (BC95718), with the Op.2 Sonatas of Francesco Antonio Bonporti: ‘the overall effect is of a highly professional group at home with the repertoire. So little of Bonporti’s works have been recorded to the highest standards; let us hope this is a start of a revival!’ Such hopes are answered here by a second disc, which returns to the set of sonatas da Chiesa which first made Bonporti’s name when they were published in 1696. Corelli, no less, is said to have instructed him in violin playing, though Bonporti regarded himself as primarily a priest rather than a composer. Indeed he used his compositions primarily as a means of preferment towards more prestigious clerical posts: writing to the secretary of the Elector of Mainz, Bonporti offered to forgo a year's salary if appointed chaplain to the emperor at Vienna. His proposal and ambition went unrewarded on this occasion and many others, and only a century ago was his music rediscovered as part of a volume of sonatas formerly attributed to J.S. Bach. In fact the Capellmeister of Leipzig probably knew Bonporti’s music, and perhaps adopted the genre of keyboard ‘Inventions’ from him. Bonporti’s own compositional model was clearly that of Corelli, with its technically sophisticated writing for the violin, full of virtuoso touches and flourishes as well as imaginative harmony and lively part-writing. Nevertheless, his output remains under-explored even by modern ensembles, which makes this new recording an attractive acquisition for all devotees of the Italian Baroque.

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