# Favorite Corelli Concerti Grossi recordings



## clavichorder

I am looking to buy a set of Corelli concerti grossi. I tend to prefer period instruments, but a good performance is the most important thing.


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## Dirge

Here's an all too lengthy old post of mine on the matter that I'm too lazy to pare down ...

Arcangelo CORELLI: Concerti grossi, Op. 6
:: Amandine Beyer/Gli Incogniti [Zig-Zag Territoires, live 2012]

To an extent, these works might be thought of as trio sonatas on steroids, with the concertino of two violins and cello presenting the pith of each work and the ripieno strings and continuo more or less fleshing it out to add sonic weight and bulk and textural variety. That's an oversimplification, but not an egregious one, as the works could, as Corelli himself suggests, be reasonably presented by the concertino alone. The concertino, ripieno strings, and continuo roles are here variously fulfilled by Gli Incogniti's 18 members. Beyer herself always takes one of the violin concertino parts, while the other is taken in turn by one of four other violinists. The ripieno strings are drawn from a pool of six violins, two violas, two cellos, and one double bass; the continuo from a pool of harpsichord, organ, archlute, theorbo, cello, and violone.

The performances strike me as being historically informed but not historically constrained, with Beyer and her merry little bande assimilating and subsuming what historical information is available and then letting their better musical instincts guide them rather than subscribing to some dubious presumption of authenticity. (In the case of these works, it's believed that they were variously performed by as few as ten and as many as a hundred or more players in their day, so authenticity would seem to be a matter of expediency in any event.)

Instrumental balances are uncommonly even and democratic, allowing the concertino soloists to seamlessly merge into and emerge out of the ripieno strings and giving the continuo players a degree more presence than usual. The continuo players take advantage of this elevation in status by playing with much rhythmic savvy and a sneaky amount of spontaneity in addition to fulfilling their usual role of fleshing out harmonies, and the extra rhythmic reinforcement/punch that they provide is one of the distinctive aspects of these performances-and they provide it without unduly calling attention to themselves. Indeed, instrumental balances are such that whatever you decide to focus on is what comes into focus. It's to Beyer's musical credit that she allows such balances-how many "star" violinists are okay with not being spotlit/to the fore?-and it's to her virtuoso credit that she manages to stand out anyhow through the sheer quality and personality of her playing.

The pace is moderate to fairly brisk to brisk, never lingering, but owing to the always alert and buoyant playing, it never sounds too brisk or rushed. This, combined with the excellent energy all around and the extra rhythmic reinforcement/punch provided by the continuo, lends the performances a fresh and vigorous feel. Execution is as proficient and polished as you'd expect from a top-notch Baroque ensemble these days, and the playing in general is notable for the chamber-like interaction among the group's members and for the earthy and unassuming (but undeniable) virtuosity that they display. All this goes to serve interpretations that are at once vital and slightly rustic/earthy in a HIP sort of way (especially in the fast music) yet warm and elegant in a traditional sort of way (especially in the slow music)-not that you'll mistake Gli Incogniti for I Musici or ASMF, but neither will you mistake it for Europa Galante or Il Giardino Armonico.

The phrasing and characterization found here is pretty hard not to like, and the group does a good job of balancing expressive freedom & flexibility and classical discipline & inner tension-unlike in its earlier recording of Vivaldi's _Four Seasons_, which is far too free & flexible and almost devoid of inner tension. All things considered, this is the most convincing and satisfying overall recording of Corelli's Op. 6 that I've heard. If you find Pinnock/The English Consort too prim and stately (too "English"), Marriner/ASMF too conservative and orchestral, Banchini/Ensemble 415 too relaxed/slow and grandiose, and Kuijken/La Petite Bande too squeezed of phrasing and wiry of tone, then Beyer/Gli Incogniti might be for you, as the group manages to stake out something of an interpretive middle ground that sounds neither too this nor too that. I like aspects of all the listed competing sets and might favor one of them in this movement or that, but Beyer/Gli Incogniti provides a more varied and well-rounded listening experience, deftly characterizing the more rustic/earthy music and the more warm and elegant music in a contrasting but complementary way. The famous final movement of the famous Christmas Concerto (No. 8 in G minor) illustrates all in a tidy little nutshell, with the vital and slightly rustic/earthy Allegro perfectly setting off the warm and elegant Pastorale (and vice versa).

The live recordings (only the applause after the last performance on each CD gives the audience away) were taken from two concerts and from a few "patch" sessions done right afterwards. The sound is excellent in all respects, allowing you to hear the inner goings-on as well as the deftly blended whole, depending on how you focus your listening.

My previous favorite recording of Corelli's Op. 6, that by Sardelli/Modo Antiquo, now assumes the role of most-interesting alternative, both for its use of "optional" winds here and there and for its alert phrasing and airy, finespun textures and crisp, clean finish-they play like Italians but sound like Scandinavians. If the approach is not quite as varied as it might be over the long run, the listening ordeal is no worse than being forced to drink nothing but really expensive aquavit all evening. The well-reviewed recent set by Beznosiuk/The Avison Ensemble, on the other hand, is far too subtle for the likes of me; indeed, the playing, expert and beautiful as it certainly is, is so gentle, relaxed/low in tension, and understated that I soon forget that I'm even listening to it.


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## D Smith

I can recommend the recordings by Nicholas McGegan and the Philharmonia Baroque Orchestra. This is a go-to CD for de-stressing (and enjoying). This is, however, the only recording I have heard of this work so I can't say if there are better versions available.


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## Guest

I've read nothing but great reviews of the Amandine Beyer/Gli Incogniti [Zig-Zag Territoires, live 2012], but I haven't heard it yet. I can safely recommend the Avison Ensemble on Linn Records. They do tend to be less "driven" than some ensembles...beauty and elegance seem to be their priorities. Superb SACD audio, too.


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## senza sordino

This was a Gramophone award winner some years back
View attachment 52389

It's terrific.


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## Varick

senza sordino said:


> This was a Gramophone award winner some years back
> View attachment 52389
> 
> It's terrific.


Well, this is the only one I own, but I have heard two others years and years ago (I can not remember which ones - I know... helpful, right?), and so far to date, I enjoy this one the most. After hearing all three, this was the one I enjoyed the most, so that's why I own it.

I know for a fact that I have never heard the Amandine Beyer/Gli Incogniti, but now I will give this one a listen. Overall I enjoy some of the concerto grossi's, but I can't say I've ever found myself in a _"OMG, I just HAVE to hear some Corelli right now"_ mood so it will be some time till I get around to it. But I do love to hear suggestions on something I've never heard before.

V


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## Guest

I just ordered the Amandine Beyer/Gli Incogniti set and will report back once I listen to it.


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## Guest

Although not Concerti Grossi, has anyone heard this premiere recording of Sonatas recently attributed to Corelli?


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## clavichorder

^^^
I haven't. How did you like them?


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## Guest

I haven't heard them yet--I was hoping to hear from someone who had!


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## Guest

Kontrapunctus said:


> I just ordered the Amandine Beyer/Gli Incogniti set and will report back once I listen to it.


It arrived today, and wow! This is an amazing set of performances. Much more vibrant and alive than the Avison Ensemble. I like the sound more too--it's closer and more detailed. It's also a live recording (with the "patch sessions"), so that gives it an extra bit of oomph!


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## Musicforawhile

On youtube I have come across Il Giardino Armonico, Hesperion XXI with Jordi Savall, Academy of Ancient Music. But I wouldn't really know who to recommend.


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## Montarsolo

I recently saw David Hurwitz' YouTube video about these compositions. I know them by name but never listened to them. I didn't know they were that good and important. You are never too old to learn.

Hurwitz's favorite was the recording of Marriner. I'm curious about Pinnock's recording myself.


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## neoshredder

Pinnock’s have the highest rating on Amazon. Can’t go wrong with that.


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## Kjetil Heggelund

Listen to them all! When I compare recordings and interpretations I get a bit hung up on tempos and reverb.


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## Josquin13

IMO, Trevor Pinnock's set of Arcangelo Corelli's 12 Concerto grossi, Op. 6, is one of the better recordings that he made with The English Concert during their Archiv years in the 1980s. I don't think you can go wrong with it, that is, unless you dislike the sound of period instruments. I still enjoy the set today, now many years later. Although, with that said, when compared to the period movement today, I expect some will find Pinnock's performances a tad square. I don't myself,






With that in mind, there is another more recent version that I like very much as well, which isn't quite as a conservatively interpreted as Pinnock's, by the Italian group, Modo Antiquo, led by conductor Federico Maria Sardelli:














There's also a very worthwhile single CD of selected concertos from the Op. 6 set from the always incredibly 'in tune' ensemble Tafelmusik (in contrast to Gli Incogniti), led by Jeanne Lamon, which is terrific. If they'd done all 12 concertos, Tafelmusik might be my favorite for these works,














Corelli: Concerti Grossi, Op. 6


Corelli: Concerti Grossi, Op. 6. Deutsche HM: G010001413008Y. Buy download online. Tafelmusik, Jeanne Lamon



www.prestomusic.com





Among modern instrument versions, Sir Neville Marriner's recording with the always musical Academy of St. Martin in the Fields is first rate--if a bit old fashioned, interpretatively, but I have a slight preference for a more recent digital era recording by the Guildhall String Ensemble on RCA,

Corelli- Concerto Grosso in G Minor Op. 6 no. 8 “Christmas Concerto”








Archangelo Corelli, Robert Salter, Guildhall String Ensemble - Corelli: Concerti Op.6 - Amazon.com Music


Archangelo Corelli, Robert Salter, Guildhall String Ensemble - Corelli: Concerti Op.6 - Amazon.com Music



www.amazon.com





My 10 cents.

P.S. As for violinist Enrico Gatti's Corelli series, which was mentioned above, I like it very much, indeed I find Gatti's violin playing warm and expressive. Although I also like and may even slightly prefer violinist Stefano Montanari's Op. 5 set with members of Accademia Bizantina, led by Ottavio Dantone; though some may find Montanari's playing a bit more angular than Gatti's. In addition, Montanari's performances are very well recorded to audiophile standards on hybrid SACD. Being a big Corelli fan, I'm happy to own both recordings in my collection, since they compliment each other well, with Gatti using fewer players (a trio), etc.,

Arcangelo Corelli OP V Accademia Bizantina,Ottavio Dantone YouTube

Arcangelo Corelli Violin Sonatas Op.5, Enrico Gatti 1/2
Arcangelo Corelli Violin Sonatas Op.5, Enrico Gatti 2/2


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