Michel Corrette
6 Sonatas Op. 25 for Harpsichord and Violin (Paris 1742)
- Editor: Eloise Ameruoso
- Publisher: Ut Orpheus
- Code: HS 281
- In Stock
-
€ 31.95
Sonata I (Les Fêtes de Flore); Sonata II (Les Champs Elisées); Sonata III (Le Jardin des Hesperides); Sonata IV (Les Amusemens d’Apollon chez Le Roi Admète); Sonata V (Les Jeux Olympiques); Sonata VI (Les Voyages d’Ulysse)
Published in 1742 by the author with Boivin, Le Clerc and de Bretonne, Corrette’s Op. 25 was committed to the Knight of Orleans. It contains six sonatas with violin accompaniment. Nevertheless, on the frontispiece, Corrette reminds the possibility to perform these sonatas also for solo harpsichord; violin accompaniment is therefore considered as collateral and not crucial even though two instruments complete each other and continuously dialogue in a charming way. The composer declares the effect he requires to obtain at the beginning of sonata punctuating that the “violin must play mezzo piano way” and giving, once again, a great relevance to the keyboard. Despite the notices, imitations and plots between the instruments are so pleasant and constant that it is very improbable to imagine that violin role has considered as unsubstantial.
In the fourth sonata, the only one written in minor tonality, Corrette supposes flute accompaniment as alternative to the violin. In this case, Italian style is evident, for example, in the third movement where the composer imitates Vivaldi with frequent unison passages.
On technical plan, the harpsichordist is occupied in recurring hands crossing, playing suddenly overall keyboard.
Published in 1742 by the author with Boivin, Le Clerc and de Bretonne, Corrette’s Op. 25 was committed to the Knight of Orleans. It contains six sonatas with violin accompaniment. Nevertheless, on the frontispiece, Corrette reminds the possibility to perform these sonatas also for solo harpsichord; violin accompaniment is therefore considered as collateral and not crucial even though two instruments complete each other and continuously dialogue in a charming way. The composer declares the effect he requires to obtain at the beginning of sonata punctuating that the “violin must play mezzo piano way” and giving, once again, a great relevance to the keyboard. Despite the notices, imitations and plots between the instruments are so pleasant and constant that it is very improbable to imagine that violin role has considered as unsubstantial.
In the fourth sonata, the only one written in minor tonality, Corrette supposes flute accompaniment as alternative to the violin. In this case, Italian style is evident, for example, in the third movement where the composer imitates Vivaldi with frequent unison passages.
On technical plan, the harpsichordist is occupied in recurring hands crossing, playing suddenly overall keyboard.
Author: Michel Corrette (1707-1795)
Editor: Eloise Ameruoso
Publication Date: 12/4/2019
Edition: Score and Parts
Pages: pp. 84 + parts pp. 40
Size: 230x310 mm
Binding: Saddle stitching
ISMN: 979-0-2153-2638-5
Code: HS 281
Stringendo Magazine (October 2020)
... These delightful works are sparsely edited, devoid of fingering or bowing, allowing the original baroque nature to shine through unimpeded. Ut Orpheus’s spacious layout is exemplary. (Mary Nemet)
... These delightful works are sparsely edited, devoid of fingering or bowing, allowing the original baroque nature to shine through unimpeded. Ut Orpheus’s spacious layout is exemplary. (Mary Nemet)
Archi Magazine (settembre-ottobre 2020)
... Brani chiari e realizzabili senza troppe fatiche, possono costituire una buona miniera anche didattica per accostarsi allo stile dell’epoca ... (Giovanni Pandolfo)
... Brani chiari e realizzabili senza troppe fatiche, possono costituire una buona miniera anche didattica per accostarsi allo stile dell’epoca ... (Giovanni Pandolfo)
Corrette, Michel 6 Sonates from “Prototypes” (Paris 1775) for Violin and Continuo
CSS 74 - € 19.95
Martini, Giovanni Battista Sonata Op. 2 No. 12 in F Major for Keyboard
HS 164 - € 10.95