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19.50 EUR

il violoncello cantabile e virtuoso
Juris Teichmanis, violoncello
Swantje Hoffmann, violin;
Annekatrin Beller, violoncello; Sebastian Wienand, harpsichord


amb 96938
EAN 4011392969383

Francesco Alborea (1691-1739) Sonate C-Dur für Violoncello und B.c.
Domenico Gabrielli (1651-1690) Ricercar Nr. 7 d-Moll für Violoncello solo
Antonio Vivaldi (1678-1741) Sonate B-Dur RV 46 für Violoncello und B.c.
Giovanni Benedetto Platti (1690-1763) Ricercata Nr. 1 D-Dur für Violine und Violoncello
Domenico Gabrielli Ricercar Nr. 3 D-Dur für Violoncello solo
Francesco Geminiani (1687-1762) Sonate VI a-Moll für Violoncello und B.c.
Giovanni Benedetto Platti Ricercata Nr. 4 G-Dur für Violine und Violoncello
Domenico Gabrielli Sonate G-Dur für Violoncello und B.c.

String instruments belonging to the “viola” family have existed since the 15th century, and comprised mainly of two basic forms of a medium size: “viola da gamba” and “viola da braccio”. Italy being the country of origin, the small, treble version of the viola da braccio was given the Italian diminutive, “violino”, whereas the large one with a bass range was given the Italian augmentation, “violono”. During the 17th century yet another, smaller form of the “violono” also in bass range came into existence, the “violoncino” or “violoncello”.
All instruments belonging to the viola da braccio family were initially intended for chamber music, and their use solistically was long more the exception than the rule. A solistic use presupposed a virtuosic performer and (often the one and same) a correspondingly interested composer. These were first to be found for the violin, but since the late 17th century also for the violoncello – usually there, where ambitious players were also active as composers or sovereign patrons played this instrument and demanded appropriate compositions. This happened foremost in Italy (principally in Bologna), where instrument building was at its most advanced and, faster than in other parts of Europe, where the violoncello overtook it's immediate rival in the tenor/bass range, the viola da gamba. At the same time, the growing use of the violoncello as a solo instrument is likely to have led to a unification of its external characteristics. It seems therefore more than legitimate to play pieces for the solo violoncello on the one and same instrument, despite their varying origins, because it is then possible to appreciate the different standpoints of the building of the instrument, performance technique and the compositorical element through a mutual, but still individual perspective.