6 Concertos Op. 7 (H. 115-120)
- Critical Edition [Opera Omnia - Vol. 6]
- Editor: Richard Maunder
- Publisher: Ut Orpheus
- Code: GCE 3
- In Stock
Opus 7 had something of a mixed reception. The most virulent criticism of Opus 7 came from Francesco Maria Veracini (1690-1768), who devoted over twenty pages of his unpublished treatise Il Trionfo della pratica Musicale, probably written in about 1760, to a very detailed analysis of what he calls a “Fuga Mostruosa” by one Sgranfione Miniacci, a not-quite-exact anagram of Francesco Geminiani. The fugue in question is the second movement of No. I, which the composer – perhaps unwisely – entitled “L’Arte della Fuga”.
In more recent times critical opinion has on the whole remained hostile. One of the few modern writers to praise Opus 7 unstintingly is Arthur Hutchings, who considered the set Geminiani’s “finest achievement”, and lamented that “one frequently hears some of the Op. 3 concertos, especially a rather dull one in D minor [No. IV], but none of the very good ones in Op. 7”. Whether Opus 7 is superior to the composer’s other works may be open to debate, but there can be no doubting the high level of originality and invention throughout all six concertos. The music is certainly quirky – even eccentric – at times, but it is unfailingly interesting, and there are many movements of outstanding refinement and beauty.
It is to be hoped that the present volume will allow Geminiani’s Opus 7 concertos to be judged afresh, free from the prejudices engendered by the rather ill-considered opinions of Hawkins and Burney.
Author: Francesco Geminiani (1687-1762)
Editor: Richard Maunder
Publication Date: 11/18/2011
Series: Francesco Geminiani Opera Omnia
Pages: pp. 224
Size: 235x315 mm
Binding: Paperback (Soft Cover)
Code: GCE 3