Purcell: Twelve Sonatas Of Three Parts / London Baroque
Editorial Reviews
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Henry Purcell published these proto-trio sonatas in 1683, when he was only 24. His stated aim was to bring Italian-style chamber music in the manner of Corelli to the English market. (Italian music wasn't entirely unknown in England at the time, but never mind.) Each four-movement sonata is only five to seven minutes long. The music has a brisk, almost compact quality that's heightened by the tight melodic interplay between the two violin parts. The minor-key sonatas have a sober nobility that never becomes ponderous, even in slow movements; the major-key works are fleet, even joyous, without ever seeming frivolous. London Baroque plays with a combination of energy, dignity, and pleasing tone that serves Purcell well--and sometimes brings an almost involuntary smile to one's face. --Matthew Westphal
Purcell: Twelve Sonatas Of Three Parts / London Baroque, Music, Henry Purcell, London Baroque, Chamber, Classical, Multiple String Instruments with Keyboard/Continuo
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Purcell: Ten Sonatas in four parts; Twelve Sonatas of three parts
Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B0000APHMA Release Date: 2003-12-09 |
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Henry Purcell: Twelve Sonatas of Three Parts, Z. 790-801 (London, 1683) - London Baroque
London Baroque Manufacturer: Harmonia Mundi ProductGroup: Music Binding: Audio CD ASIN: B00005YOPQ Release Date: 1993-11-30 |
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Purcell: Twelve Sonatas Of Three Parts / London Baroque
Manufacturer: Harmonia Mundi ProductGroup: Music Binding: Audio CD ASIN: B000005Z3C Release Date: 1998-04-14 |
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Amazon.com essential recording
Henry Purcell published these proto-trio sonatas in 1683, when he was only 24. His stated aim was to bring Italian-style chamber music in the manner of Corelli to the English market. (Italian music wasn't entirely unknown in England at the time, but never mind.) Each four-movement sonata is only five to seven minutes long. The music has a brisk, almost compact quality that's heightened by the tight melodic interplay between the two violin parts. The minor-key sonatas have a sober nobility that never becomes ponderous, even in slow movements; the major-key works are fleet, even joyous, without ever seeming frivolous. London Baroque plays with a combination of energy, dignity, and pleasing tone that serves Purcell well--and sometimes brings an almost involuntary smile to one's face. --Matthew WestphalMusic Review:
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