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The Trio Sonata Through Two Centuries / London Baroque
Formed in 1978, London Baroque enjoys the position of being one of the most experienced and long-lived baroque chamber groups. Combining 8 albums originally released between 2003 and 2013, the present set of trio sonatas can be seen as the fruit of all those years of research, experiment and discovery. The trio sonata was the primary vehicle for chamber music in the seventeenth and at least half of the eighteenth centuries. Its history mirrors other developments throughout the whole of the baroque era. This set is chiefly concerned with those for two violins and continuo, with occasional digressions into those for violin, bass viol and continuo, and one with viola replacing the second violin. Like the string quartet in later ages, most composers (with some notable and regrettable exceptions) tried their hand in the form. The customary addition of a figured bass part played on a harpsichord or organ around 1600 meant that middle parts of the old contrapuntal style could be excluded and chamber music soon began to favor the trio sonata texture. 150 years later, with the string quartet, the process was reversed as the viola took over the middle ground previously occupied by the keyboard.
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Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
-----
Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
Formed in 1978, London Baroque enjoys the position of being one of the most experienced and long-lived baroque chamber groups. Combining 8 albums originally released between 2003 and 2013, the present set of trio sonatas can be seen as the fruit of all those years of research, experiment and discovery. The trio sonata was the primary vehicle for chamber music in the seventeenth and at least half of the eighteenth centuries. Its history mirrors other developments throughout the whole of the baroque era. This set is chiefly concerned with those for two violins and continuo, with occasional digressions into those for violin, bass viol and continuo, and one with viola replacing the second violin. Like the string quartet in later ages, most composers (with some notable and regrettable exceptions) tried their hand in the form. The customary addition of a figured bass part played on a harpsichord or organ around 1600 meant that middle parts of the old contrapuntal style could be excluded and chamber music soon began to favor the trio sonata texture. 150 years later, with the string quartet, the process was reversed as the viola took over the middle ground previously occupied by the keyboard.
-----
Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
-----
Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
$45.99
The Trio Sonata Through Two Centuries / London Baroque—
$45.99
Description
Formed in 1978, London Baroque enjoys the position of being one of the most experienced and long-lived baroque chamber groups. Combining 8 albums originally released between 2003 and 2013, the present set of trio sonatas can be seen as the fruit of all those years of research, experiment and discovery. The trio sonata was the primary vehicle for chamber music in the seventeenth and at least half of the eighteenth centuries. Its history mirrors other developments throughout the whole of the baroque era. This set is chiefly concerned with those for two violins and continuo, with occasional digressions into those for violin, bass viol and continuo, and one with viola replacing the second violin. Like the string quartet in later ages, most composers (with some notable and regrettable exceptions) tried their hand in the form. The customary addition of a figured bass part played on a harpsichord or organ around 1600 meant that middle parts of the old contrapuntal style could be excluded and chamber music soon began to favor the trio sonata texture. 150 years later, with the string quartet, the process was reversed as the viola took over the middle ground previously occupied by the keyboard.
-----
Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
-----
Excerpts from reviews of previously released volumes included in this set:
The Trio Sonata In 18th-century Germany
London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years. That also applies to the Bis trio sonatas series: eight discs, intelligently put together and forming a lively documentation of an important part of music history. The playing is again of the highest quality.
– MusicWeb International
The Trio Sonata In 18th-century Italy
London Baroque’s program-opening performance of Albinoni’s Balletto in G features a fresh, unsentimental treatment of the composer’s characteristically slow first-movement Preludio Largo, followed by sprite deliveries of the second and third movements and a dashing Vivaldi-esque concluding Gavotta Presto. Their performance of Giuseppe Sammartini’s Sonata V is equally inspired. Locatelli’s Sonata in D major also receives a captivating, distinguished performance featuring plenty of thrilling fiddling, especially in the Allegro molto finale. London Baroque performs Vivaldi’s famous Op. 1 No. 12 trio sonata “La Folia” with the leaner continuo of just a cello and harpsichord backing the two violins originally specified by the composer. How refreshing!
– ClassicsToday
Trio Sonata In 18th Century France
Listening to these virtuoso performers swing through much of Couperin’s glorious music is often dazzling. It’s been more than a decade since London Baroque began its European trio sonata recording odyssey for BIS, with by and large great success. And here is another wonderful installment, warmly recommended.
– ClassicsToday
