Classical

Marco Uccellini – La Hortensia Virtuosa (2004)

2014-01-18T16:44:51Z

Marco Uccellini – La Hortensia Virtuosa (2004)

from "Sonate, correnti, et arie de farsi con diversi stromenti ...", op. IV (c. 1645)
01 Sonata quarta detta "La Hortensia virtuosa"
02 Sonata seconda detta "La Luciminia contenta"
03 Sonata overo Toccata quinta detta "La Laura rilucente"
04 Sonata nona

from "Sonate over canzoni da farsi a violino solo, e basso continuo" op. V (1649)
05 Sonata quarta
06 Sonata terza
07 Sonata ottava
08 Sonata quinta
09 Sonata decima
10 Sonata prima

from "Sinfonici concerti brievi, e facili" op. IX (1667)
11 Sinfonia prima

from "Compositioni armoniche sopra il violino e diversi altri strumenti" op. VII (1660)
12 Sonata prima
13 Sonata seconda

Lucy van Dael - (baroque) violin
Bob van Asperen - harpsichord
Toyohiko Satoh - liuto-attiorbato
Jaap ter Linden – cello

The sonatas of Marco Uccellini, for violin and continuo, represent early manifestations of the virtuoso violin impulse that led to the instrumental masterpieces of the High Baroque. The music on this disc was written between 1645 and 1667, and it elaborates the semi-improvisatory quality of the earliest instrumental sonatas into spectacular, free-rhythmed fantasies of instrumental display. This kind of music takes a specialist well-versed in Baroque playing techniques and ornamentation practices to bring it to life, and veteran Lucy van Dael, accompanied by harpsichordist Bob van Asperen and several other fine players, certainly fills the bill. She plays an Amati violin from 1646 that seems as though it can transport the listener back to the Modena palaces in which this music arose. The historically detailed booklet notes indicate the orientation of this disc toward libraries, specialists, and those with a serious interest in the early Italian Baroque, and it will find a ready audience among these groups and institutions. But the average lover of the violin, or the listener newly immersed in the music of performers who have given Monteverdi his proper level of intensity, may be attracted as well by the flashy free spirit and some of the unusual sonorities of this music. Sample the Sonata decima from the Op. 5 set (track 9), with its long, rhapsodic flights at the very top of the violin's range. The engineers of the Aeolus label have brought out every detail of van Dael's masterful playing. --- James Manheim, Rovi

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Marco Uccellini – Works for Violin (Helene Schmitt) [2010]

2017-05-09T14:05:02Z

Marco Uccellini – Works for Violin (Helene Schmitt) [2010]


1. Sonatas, Op. 7: Toccata
2. Sonatas, Op. 4: Sonata No. 2
3. Sonatas, Op. 7: Correnti decima settima
4. Sonatas, Op. 7: Sonata No. 11
5. Sonatas, Op. 4: Toccata quinta
6. Sonatas, Op. 4: Aria seconda - Correnta decima - Aria terza
7. Sonatas, Op. 7: Sonata No. 12
8. Sonata No. 1, Book 3
9. Sonatas, Op. 7: Sonata No. 1
10. Sonatas, Op. 5: Sonata No. 4
11. Sonatas, Op. 4: Sonata No. 14
12. Sonatas, Op. 7: Aria decima - Corrente quinta - Corrente sesta
13. Sonatas, Op. 7: Sonata No. 3
14. Sonatas, Op. 7: Corrente vigesima
15. Sonatas, Op. 5: Sonata No. 11

Helene Schmitt - baroque violin
Arno Jochem – cello, violone
Karl-Ernst Schröder – guitar, theorbo
Markus Markl – organ, harpsichord

Marco Uccellini of Modena broke new ground in the development of the virtuoso sonata for solo violin. These sonatas demonstrate how he extended the short from of several sections. He tends to sequence small, slightly varying motifs; in some of them there is a contrasted second part in triple time, with scale passages and dance-like passages. He demands considerable virtuosity from his soloists. --- prestoclassical.co.uk

Marco Uccellini (1610-1689) was a talented violinist, composer and music director at the ducal court of Modena for much of his career. Giovanni Gabrieli had already initiated the specific scoring of chosen instruments in his works, and the practice was developing well in Italy by this time, especially in the field of the solo violin. Uccellini continued to develop instrumental music further throughout his career, and composed many fine works for violin and chamber ensemble.

This CD is a collection of such works selected from several of Uccellini's publications, mainly in the then very flexible Sonata form and mostly for solo violin and continuo, with a couple of pieces for two violins. The works are inventive, often capricious but always full of charm and attractive melody. They are beautifully played here by a German-based period-instrument ensemble led by Hélène Schmitt on first violin. The first work, Toccata for two violins and b.c., is especially beautiful, with lovely dialogue and harmonies created by the two instruments. The other piece for two violins, Corrente (track 3), is short but exhilarating.

Not all of the fifteen works here are of equal interest, but I especially liked the Sonata duodecima (7), the more extended Sonata prima (9), the adventurous Sonata quarta (10) and the closing Sonata undecima (15), this latter full of melody and invention. All the playing is very fine, as is the recorded sound, and booklet notes are excellent. I would call this very good rather than great music, but it is a very enjoyable and finely performed collection and will surely please fans of baroque chamber music and students of its development. --- Stephen Midgley, amazon.com

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Uccellini - Sonate, Correnti e Arie dall'Opera Quarta (1995)

2017-08-10T14:46:37Z

Uccellini - Sonate, Correnti e Arie dall'Opera Quarta (1995)


01. Aria decima quarta a doi violini sopra La mia Pedrina [4:44]
02. Aria prima a violino solo [1:50]
03. Corrente nona a violino solo [1:05]
04. Aria duodecima a doi violini detta Bigaran [2:36]
05. Sonata settima a violino e basso detta La Prosperina [2:54]
06. Aria ottava a violino solo [1:46]
07. Corrente undecima a violino solo [1:39]
08. Sonata quarta a violino solo detta La Hortensia Virtuosa [3:11]
09. Aria decima a violino solo [2:40]
10. Corrente sesta a violino solo [1:26]
11. Sonata vigesima quinta a 3 doi violini e basso [3:07]
12. Aria nona a violino solo [1:49]
13. Corrente decima quinta a violino solo [1:51]
14. Sonata decima a violino e basso [3:58]
15. Aria seconda a violino solo [2:48]
16. Corrente decima a violino solo [1:09]
17. Sonata vigesima terza a 3 doi violini e basso [4:30]
18. Sonata seconda a violino solo detta La Luciminia contenta [3:36]
19. Aria decima terza a doi violini sopra Questa bella Sirena [3:23]
20. Sonata nona a violino e basso [3:19]
21. Aria sesta a violino solo [2:42]
22. Corrente vigesima a violino col secondo ad libitum [1:08]
23. Sonata vigesima sesta sopra La Prosperina a 3 [3:24]
24. Aria terza a violino solo [2:48]
25. Corrente decima sesta a violino solo [0:56]
26. Sonata vigesima settima a doi violini e basso [4:12]
27. Aria decima quinta sopra La scatola degli aghi [2:30]

Conserto Vago:
Marino Lagomarsino - violin
Ernest Braucher - violin
Marco Vitali - violoncello
Ero Maria Barbero - harpsichord
Massimo Lonardi – archlute

Recorded Feb. 24-27, 1995, Church S. Bartolomeo di Cavasco, Genoa.

I very much enjoyed Romanesca’s disc of Biagio Marini’s violin music (Harmonia Mundi, 9/97). This companion recital features violin sonatas, instrumental arias and correntes by Marini’s contemporary Marco Uccellini. Uccellini, along with Marini, Fontana, Turini and several others, developed an idiomatic, virtuosic approach to violin writing in which they aspired to emulate the expressive range of the human voice. With their imaginative exploration of the violin’s technical potential and in the pioneering spirit of the time, these composers made significant and lasting contributions both to technique and form. Thus in Uccellini’s music we are at once made aware of a distinctively exploratory, improvisatory idiom in which there is a highly developed sense of fantasy.

It is one of Andrew Manze’s many strengths that he unfailingly responds to the technical and interpretative challenges of this repertoire with curiosity, stylistic propriety and playful imagination. Expressive delicacy, engaging inflexions and a discerning love of detail are all of the greatest assistance in bringing these pieces to life. In each of these departments Romanesca succeeds admirably, enlivening Uccellini’s extravagant gestures with demonstrative panache and rhythmic vigour, the more introspective ones with affectionate warmth. The gamut of Uccellini’s expressive range, and Romanesca’s realization of it, are vividly displayed in the fine Sonata No. 1 from the composer’s Op. 7 (1660).

If I marginally prefer the Marini disc, then it is because I find the music has an even bolder, more colourful originality than Uccellini’s. But that is a personal reaction, and readers who have enjoyed the earlier release are likely to be interested in and stimulated by this new one. The instrumental sonorities are rewarding, and this aspect of the performance has been very well captured by the sympathetic recorded sound.' --- Nicholas Anderson, gramophone.co.uk

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