Concerti Grossi Opus 5

I've listened to this album any number of times and it continues to strike me as one of the most gorgeous recordings of chamber music in my collection. I have the other albums by the Avison Ensemble in this series on Corelli, and they seem equal in sound quality. But these Opus 5 compositions are of course fantastic works by a visionary in early modern music, so this would be my 'desert island' album from the series. If you enjoy chamber music, I think this recording is essential.

On the 300th anniversary of the passing of Corelli, the acclaimed Avison Ensemble began the process of recording all of Corelli's chamber works, and this set here of the Op. 5 Violin Sonatas mark the second recording of that effort. Let's just cut to the chase and say what many people already know: the Avison Ensemble's remarkable performances coupled with the skill of Linn Record's recording techniques leaves us with results that are no less than astounding. These performances and recordings simply set a new standard that, even just a few years ago, was the domain of only the largest and most experienced labels. It is not an exaggeration to say that the bar has been so significantly raised with these releases that they constitute an entirely new experience for the listener both in terms of performance virtuosity and the technical aspects of the recordings.These violin sonatas are sublime, and include some of those that Corelli himself is said to have been among his personal favorites. These are light, but dynamic. Detailed, but smooth. Complex, but eminently listenable. They are wonderful for the serious listener who wishes to wade into the depths of Corelli's craft, yet they are also of a nature that allows them to be played "in the background" (hence, "chamber music"). The Avison Ensemble (Pavlo Beznosiuk and Caroline Balding on the violins, Paula Chateauneuf on the archlute & guitar, Richard Tunnicliffe on the cello, and Roger Hamilton on the harpsichord and organ) just glide through these pieces with a deceptively simple ease that is every bit up to what Corelli wished for these pieces and that accomplishes what true craftsman do, making the performance seem effortless. This is a rare level of performance that is a beauty to behold, and repeated listening to these performances show, I have to repeat the word, true craftsmanship.And although I've commented on this before in some earlier releases by the Avison Ensemble (for example,  George Frideric Handel: Concerti Grossi Opus 6 , the recording itself by Linn Records is also nothing short of remarkable. These are recordings that are superbly nuanced, with remarkable dynamic range, a virtually invisible noise floor, and an expansive sound stage. If one ever worried that the major labels produced recordings in the past decades that marked a highpoint in recording, Linn Records has shown that this is not actually the case. What we have here is astounding in its beauty, a true "duet" of performance and recording. It's not to be missed.Are these discs expensive? Yes, they are. Are they worth it? Unquestionably. And, it must also be said that the world of classical music must be supported financially if it is to continue to reach today's audience. And so these discs from the Avison Ensemble are worthy of their price, and we can be happy that we are doing a small part to see the art stay with us, and even extended to greater levels than ever before witnessed.I cannot recommend these recordings enough. They are remarkable entries into the world of classical music. If you have not tried these out, I can only recommend that you do. Listen with a good set of headphones to truly enjoy the richness represented by this stellar recording. Five stars.

The other reviewers said it all. Sublime music, well performed and recorded.

I had heard this music in my church so was thrilled to be able to buy it. I heard it with an oboe but this version is excellent too.

Corelli's set of twelve violin sonatas, opus 5, are among the pinnacles of the violin repertoire. They consist of six sonatas for violin and basso continuo in 'sonata da chiesa' format, five more in 'da camera' pattern, and a final work in the form of 23 variations on 'La Follia'. I've been listening to three sets from among the foremost contenders on CD: namely the one played by Monica Huggett and Sonnerie (original issue 1990), the version by Enrico Onofri with the Imaginarium Ensemble (2013-15), and the present one from Pavlo Beznosiuk and the Avison Ensemble (2013).All three of these recordings are very fine indeed, and separating them into an order of merit is no easy task. Like Enrico Onofri, the instruments are at quite a low pitch, namely 392 Hz, which suits the music well to my ear. Beznosiuk's tone is silvery and graceful, creating a natural-sounding balance and beautiful textures. His playing is characterised by refinement, delicacy, fluency and charm; panache is tempered by elegance, without the in-your-face dash and forward balance of Onofri. Continuo is very nicely furnished by varying combinations of cello, archlute, guitar and harpsichord or organ.The sonatas are played in their published order, so we get the composer's six 'sonate da chiesa' on disc 1, and the five 'sonate da camera' on disc 2 concluding with a terrific rendition of the final 'Follia'. The Gavotta of Sonata no. 10 is graced by Beznosiuk's own extremely stylish and enjoyable set of six variations, while that of no. 11 has four variations by the 18th-century composer Matthew Dubourg – not as adventurous as Beznosiuk's but still enjoyable.The booklet notes are detailed and very useful indeed. Linn's recorded sound beautifully captures Beznosiuk's elegant violin tone and that of the other instruments, and altogether this is a superb recording. I'm happy to have it alongside the very different interpretation by Enrico Onofri – at the time of writing more readily available from French, German or US Amazon – but if I were forced to choose just one, it would be Onofri.

Corelli's set of twelve violin sonatas, opus 5, are among the pinnacles of the violin repertoire. They consist of six sonatas for violin and basso continuo in 'sonata da chiesa' format, five more in 'da camera' pattern, and a final work in the form of 23 variations on 'La Follia'. I've been listening to three sets from among the foremost contenders on CD: namely the one played by Monica Huggett and Sonnerie (original issue 1990), the version by Enrico Onofri with the Imaginarium Ensemble (2013-15), and the present one from Pavlo Beznosiuk and the Avison Ensemble (2013).All three of these recordings are very fine indeed, and separating them into an order of merit is no easy task. Like Enrico Onofri, the instruments are at quite a low pitch, namely 392 Hz, which suits the music well to my ear. Beznosiuk's tone is silvery and graceful, creating a natural-sounding balance and beautiful textures. His playing is characterised by refinement, delicacy, fluency and charm; panache is tempered by elegance, without the in-your-face dash and forward balance of Onofri. Continuo is very nicely furnished by varying combinations of cello, archlute, guitar and harpsichord or organ.The sonatas are played in their published order, so we get the composer's six 'sonate da chiesa' on disc 1, and the five 'sonate da camera' on disc 2 concluding with a terrific rendition of the final 'Follia'. The Gavotta of Sonata no. 10 is graced by Beznosiuk's own extremely stylish and enjoyable set of six variations, while that of no. 11 has four variations by the 18th-century composer Matthew Dubourg – not as adventurous as Beznosiuk's but still enjoyable.The booklet notes are detailed and very useful indeed. Linn's recorded sound beautifully captures Beznosiuk's elegant violin tone and that of the other instruments, and altogether this is a superb recording. I'm happy to have it alongside the very different interpretation by Enrico Onofri – at the time of writing more readily available from French, German or US Amazon – but if I were forced to choose just one, it would be Onofri.

Arrived in perfect condition, on time.

Si vous recherchez un enregistrement parfait en multicanal de ces sonates pour violon et clavecin de Corelli, l'ensemble Avison en livre ici un bon exemple audiophile, mais à titre personnel je le trouve plus appliqué qu'inspiré. C'est bien, mais un peu plat, ça manque de vie et de passion, de la complicité du duo Andrew Manze et Richard Egarr ( Corelli: Violin Sonatas, Op. 5 ), dont le double CD a l'air épuisé, mais vous devez pouvoir le commander en fichier sur Harmonia Mundi – voire en CD sur un autre Amazon européen. Corelli: Violin Sonatas, Op. 5

Linnレーベルによるアルカンジェロ・コレルリ（日本語ではコレッリとも表記）（Arcangelo Corelli 1653-1713）の没後300年の目玉企画は、イギリスのバロック・ヴァイオリン奏者パブロ・ベズノシウク(Pavlo Beznosiuk 1960-)と、イギリス、ニューカッスルのピリオド楽器によるオーケストラ、エイヴィソン・アンサンブル(Avison Ensemble)のによるコレルリの室内楽シリーズである。当盤はその第2弾にあたるもので、ヴァイオリンと通奏低音のためのソナタ集op.5全12曲を収録したもの。2012年の録音。CD2枚組。通奏低音を担当するのは、エイヴィソン・アンサンブルのメンバーであるポーラ・シャトーノフ（Paula Chateauneuf 1958-　リュート・ギター）、リチャード・トゥニクリフ（Richard Tunnicliffe　チェロ）、ロジャー・ハミルトン（Roger Hamilton　ハープシコード・オルガン）の3人。12曲のソナタの内訳は、第1番ニ長調、第2番変ロ長調、第3番ハ長調、第4番ヘ長調、第5番ト短調、第6番イ長調、第7番ニ短調、第8番ホ短調、第9番イ長調、第10番ヘ長調、第11番ホ長調、第12番ニ短調「ラ・フォリア」となる。なんといっても有名なのは、第12番「ラ・フォリア」で、ラフマニノフ（Sergei Rachmaninov 1873-1943）の「コレルリの主題による変奏曲」等でも用いられた有名な旋律による主題と23の変奏からなる作品である。これらのソナタは、ヴァイオリンとコンティヌオ（通奏低音）という編成によっており、合奏協奏曲op.6との違いは、楽曲構成ではなく楽器編成の点にある。つまり、独奏楽器が合奏協奏曲ではヴァイオリン2本であるのに対しソナタでは1本であることと、コンティヌオが合奏協奏曲では弦楽合奏であるのに対しが、ソナタではハープシコード（オルガン）、チェロ、ギターによっていること。また、一方で、楽曲構成は、二つの形式を踏襲しているという点で、合奏協奏曲とソナタは共通している。ソナタの場合、前半6曲が教会ソナタで、基本は「緩−急−緩−急」の構成であり、一方、7番から11番までの5曲が「室内ソナタ」で、舞曲を伴った組曲風のものとなっている。しかし、終曲（第12盤）が変奏曲（ラ・フォリア）となっている点は、合奏協奏曲にはない特徴的なところであり、かつ、この音楽が抜群に有名な部分となっているため、両者の際立った違いに感じられよう。奏法という観点では、これらのソナタは、ハイ・ポジションや重音奏法、ピチカートなどを避けており、そういった意味でヴィルトゥオジティの誇示ではなく、アカデミックな手堅さを示したもので、そのスタイルは後世に大きな影響を与えたとされる。均整のとれた構造、優美でリリックな表現、控え目な技巧などは、ボローニャ楽派の特徴として知られるものである。コレルリの活動拠点はローマだったとは言え、若き日にボローニャで学んだコレルリは、そういった面からも、広義のボローニャ楽派と呼んで差支えないと思う。当盤におけるベズノシウクのヴァイオリンは、緩急豊かで、活き活きとした表情付けが鮮烈でありながら、厳かな慎みをも感じさせ、いかにも音楽を深いところで演奏しているという感慨を得る。シャトーノフのギター（リュート）の響きがいい。通奏低音でありながら、時として、強い主張を感じさせる響きを織り交え、近代的な均衡性のある室内楽的なステレオタイプな演出を施してくれる。そして、そのような演奏で「一層面白く」聴ける音楽となっていることも興味深い。コレルリの古典性一辺倒ではない楽才を、この演奏効果は証明してくれる。