PERGOLESI2 - 066 - Hi-Res-Audio - Classic

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Francesco Geminiani 1687-1762
1)Concerto grosso n. 12 “La follia” per archi e cembalo 11’ 22’’

Giovanni Battista Pergolesi 1710 -1736
2.3.4)Concerto per violino, archi e basso continuo in Si bem. magg.
Allegro 4’ 35’’ - Largo 3’ 52’’ - Allegro 3’ 45’’
Antonio Anselmi, violino

Antonio Vivaldi 1678 -1741
5.6.7)Concerto in sol min. per due violoncelli, archi e continuo RV 531
Allegro 3’ 15’’ - Largo 3’ 29’’ - Allegro 2’ 56’’
Vito Paternoster e Pietro Bosna, violoncelli

Antonio Vivaldi 1678 -1741
8.9.10)Concerto in Re Magg. per violino, archi e continuo “Grosso Mogul” RV 208
Allegro 5’ 19’’ - Grave, recitativo 2’ 32’’ - Allegro 6’ 31’’
Marco Serino, violino

Francesco Durante 1684 -1755
11.12.13)Concerto per archi n. 8 in La Magg. “La pazzia”
Allegro 6’ 35’’ - Affettuoso 2’ 02’’ - Allegro 2’ 41’

This album was recorded by Giulio Cesare Ricci at the "Casa di Spiritualità S.Teresa - Padri Carmelitani Scalzi" in Caprarola (VT) in August 2009.
The Musici are the most famous Italian chamber orchestra in the world.
With Concerti e Follie at Pergolesi' time he wanted to celebrate the 300th anniversary of the birth of the great composer of Marche origins Giovanni Battista Pergolesi by presenting rarely performed compositions, therefore little known in the concert field.
The itinerary begins with a tribute to Francesco Geminiani, a leading exponent with Locatelli and Somis of the Corellian school. The Concerto Grosso n. 12 of the sonata op. 5 no. 12 by Arcangelo Corelli "La follia" for strings and harpsichord (theme and variations), refers us to the luminosity of an enthralling virtuosity that imposed him abroad, mainly in London, where the Italian master made himself known by nurturing that tradition of great interpreters of the violin endowed with capacities at the limits of the possibilities of the time. On the other hand, the reference to Corelli, the absolute protagonist of the Baroque sonata, concert and violin, could not be missing, prefiguring, with his collections of instrumental music of 1681, the paths that would be fully realized in the following century. (..)
For the recording Giulio Cesare Ricci used the legendary Neumann U47, U48, M49 tube microphones and all his equipment: microphone preamplifiers, line, digital, Signoricci microphones and power cables.
Recorded in Stereo DSD on Pyramix using dCS A/D and D/A converters.
Also for this recording Giulio Cesare Ricci used a "field effect" recording technique, natural sound, without the use of equalizers, without sound expansion and compression systems... all this to make the listener experience in the home hi-fi system the live effect as if it were present at the performances.
An album not to be missed!

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