Accademia d'Archi Arrigoni & Domenico Mason - Fiorillo: Violin Concerto, Sinfonia Concertante (2015)
BAND/ARTIST: Accademia d'Archi Arrigoni, Domenico Mason
- Title: Fiorillo: Violin Concerto, Sinfonia Concertante
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:17:08
- Total Size: 412 mb
- WebSite: Album Preview
Tracklist
01. Concerto No. 1 in F Major: I. Allegro moderato
02. Concerto No. 1 in F Major: II. Larghetto
03. Concerto No. 1 in F Major: III. Rondo (Poco vivace)
04. Sinfonia concertante No. 1 in F Major: I. Allegro
05. Sinfonia concertante No. 1 in F Major: II. Rondo (Allegretto-Allegro)
06. Sinfonia concertante No. 2 in D Major: I. Allegro maestoso
07. Sinfonia concertante No. 2 in D Major: II. Rondo (Allegro-Presto)
08. Sinfonia concertante No. 3 in E Major: I Allegro maestoso
09. Sinfonia concertante No. 3 in E Major: II. Rondo (Allegro)
Though born in Brunswick, Federigo Fiorillo (1755-c.1823) was of Neopolitan descent, as the most casual appreciation of these fine and rare concertante works will confirm. Indeed his work owes as much to the style of Albinoni, who died five years before he was born as it does to his contemporary Mozart. Fiorillo was a violinist himself, who toured the courts of Europe before settling in London in 1788. Like his contemporary Viotti, Fiorillo composed violin music such as the 36 Caprices that are still well-known to students today.
His four concertos are much less familiar; the first was published in Paris in 1789. After an extensive and elaborate first movement there is a simple, song-like Larghetto then a rondo-finale full of musical fireworks. In his sinfonia concertante, Fiorillo even dispensed with the momentary respite of the slow movement: these are two-movement works, quick and fiery, though still conceived on the grander end of the Classical spectrum formally speaking, while little advanced in terms of style from Baroque formality, though with some pedal points to introduce harmonic tension. The first of these is scored for two oboes, while the latter two are for a pair of violins.
The soloists and orchestra on this new recording are all relatively young Italian musicians, well-schooled in the style. It will surely appeal to those collectors of rare concertos: there are very few albums indeed dedicated to Fiorillo’s music, and none at budget price.
01. Concerto No. 1 in F Major: I. Allegro moderato
02. Concerto No. 1 in F Major: II. Larghetto
03. Concerto No. 1 in F Major: III. Rondo (Poco vivace)
04. Sinfonia concertante No. 1 in F Major: I. Allegro
05. Sinfonia concertante No. 1 in F Major: II. Rondo (Allegretto-Allegro)
06. Sinfonia concertante No. 2 in D Major: I. Allegro maestoso
07. Sinfonia concertante No. 2 in D Major: II. Rondo (Allegro-Presto)
08. Sinfonia concertante No. 3 in E Major: I Allegro maestoso
09. Sinfonia concertante No. 3 in E Major: II. Rondo (Allegro)
Though born in Brunswick, Federigo Fiorillo (1755-c.1823) was of Neopolitan descent, as the most casual appreciation of these fine and rare concertante works will confirm. Indeed his work owes as much to the style of Albinoni, who died five years before he was born as it does to his contemporary Mozart. Fiorillo was a violinist himself, who toured the courts of Europe before settling in London in 1788. Like his contemporary Viotti, Fiorillo composed violin music such as the 36 Caprices that are still well-known to students today.
His four concertos are much less familiar; the first was published in Paris in 1789. After an extensive and elaborate first movement there is a simple, song-like Larghetto then a rondo-finale full of musical fireworks. In his sinfonia concertante, Fiorillo even dispensed with the momentary respite of the slow movement: these are two-movement works, quick and fiery, though still conceived on the grander end of the Classical spectrum formally speaking, while little advanced in terms of style from Baroque formality, though with some pedal points to introduce harmonic tension. The first of these is scored for two oboes, while the latter two are for a pair of violins.
The soloists and orchestra on this new recording are all relatively young Italian musicians, well-schooled in the style. It will surely appeal to those collectors of rare concertos: there are very few albums indeed dedicated to Fiorillo’s music, and none at budget price.
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