Francesco Antonio Bonporti (1672-1749)
Sonates pour 2 violons et basse continue, op. 1

Labirinti Armonici

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

La Sonate en Trio en quatre mouvements fut un genre majeur tout au long du XVIIe siècle et une sorte de passage obligé pour beaucoup de musiciens. Compositeur amateur, Francesco Antonio Bonporti fut influencé par Corelli, maître du genre, dont il semble qu’il ait suivi l’enseignement à Rome. Ordonné prêtre lors de son retour dans sa ville natale de Trente en 1695, la musique était pour lui surtout un vecteur de recherche et de plaisir intellectuel. Son opus 1 est le seul de ses quatre recueils de sonates qui soit destiné à une exécution dans une église. Sonates da chiesa, donc, et non da camera, qui font dialoguer deux violons avec une basse obligée assurée par un violoncelle et un clavecin ou un orgue. En raison de l’alternance entre passages soli et passages tutti, ces œuvres comportent des aspects évoquant le Concerto Grosso. Le talent de Bonporti, notamment son maniement du contrepoint, lui valurent une certaine renommée et même l’admiration de Bach. Enregistrés dans une église de Bolzano, les musiciens de l’ensemble Labirinti Armonici jouent ces dix sonates avec goût. (Emmanuel Lacoue-Labarthe)

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.