Ensemble Allettamento  |  Mario Braña y Elsa Pidre

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THE TRIUMPH OF DIALOGUE

Unique part. Approximate duration | 60 '

Performers | Mario Braña  (Baroque violin) & Elsa Pidre  (Baroque violoncello)

The triumph of dialogue is an invitation to a journey through the evolution of music for violin and cello in the 17th and 18th centuries.

Through the musical repertoire we propose in this programme, you will be able to see how the way to communicate between both instruments has changed over time.


In the 17th century, whereas the violin played a leading role, the cello made the accompaniment playing the bass line along with the hapsichord. However, this was not the only way to play in this period, since another common practice in which the cello played the figured bass line alone, also existed. Cellists had to be expert and competent to be able to fully perform the complex harmonies and polyphonic textures of different works. One of the first sources that evinces the question of accompaniment towards the end of the 17th century is the “Arie, correnti […] per violino e violone o spinetta de G.M. Bononcini”, the first piece of this programme. Although the composer suggests that both instruments should play the bass line, in the preface, the author clearly states his preference for the violone as the accompaniment instrument, since it is “more appropriate and giving a better effect”.
 

This practice was already more usual in the 18th century, when we find various examples of sonatas containing added notes in the bass part making good sense to a cellist but little to a hapsichordist already giving a full performance. You will listen to two pieces by A. Corelli and his pupil G. Valentini played in such a manner.

In the middle of the century, a new way of dialogue between the violin and the cello appears. The cello abandoned the accompaniment role progressively and achieved a self-identity. You will observe this evolution in two contemporary composers, C .Tessarini and G.B. Platti. With the Italian composer G.B. Cirri music becomes more homogeneous between these two instruments, and together with the great technical development of the cello, the dialogue finally consolidated.

Giovanni Battista Cirri (1724 – 1808) Dúo para violin y violonchelo en Sol M Op. 1 Nº 3

Allegro

Giovani Maria Bononcini (1642 – 1678) Arie, correnti... per violino e violone o spinetta Op.4

L'Anghisciola

Sarabanda

La Molza

Arcangelo Corelli (1653 – 1713) Sonata a violino e violone o cembalo Op.5 Nº 9

Preudio

Giga

Adagio

Tempo di gavotta

Giuseppe Valentini (1681 – 1753) Alletamento per camera, a violino, e violoncello, o cembalo Op. 8 Nº 4

 

Largo

Presto

Carlo Tessarini (1690 – 1766) Alletamento da camera a violino solo e violoncello en Sol M Op. 3 Nº 2

Allegro

Andante

Presto

Giovanni Benedetto Platti (c. 1697 – 1763) Ricercare á violino e violoncello Nº 1

Adagio

Allegro

Largo

Allegro

Giovanni Battista Cirri ( 1724 – 1808) Dúo para violín y violoncelo en Sol M Op. 12 Nº 4

Allegro con Brío

Adagio

Allegro

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