This question was urgently answered by Diderot’s group at Linz Brucknerhaus on Sunday. The program included a very lively lecture on the development of the genre, which was so pivotal in the Baroque period, in which the four of them – Johannes Bramsolser, Roldan Bernabé (violin), Gulerm Choi (Violoncillo) and Philip Griesvard (Harpsichord) – devoted themselves intensely.
In this case, the trio does not mean the number of musicians, but the composition: it is three-part music for two solo instruments and a continuous bass, performed by at least two musicians. The starting point was the Sonata prima from Opus 12 by Salamone Rossi, who is considered the “inventor” of the genre. The contributions of Giuseppe Scarani, Biagio Marini, Giovanni Lo Grinzi and Lilio Colista led to the emergence of the first great master of the genre, Arcangelo Corelli, whose Opus 2 was heard from Ciaccona. In the second part, Diderot’s group explored the field of tripartite sonnets in France based on the observations of Louis-Nicolas Clérambault and François Couprin, as well as Great Britain (with works by John Bleu and Henry Purcell), where the genre of continent was reconciled and combined with consort music in.
A magnificent cross-section of the kind that triumphed in the seventeenth century and was the status quo at the beginning of the eighteenth century. He makes music with special dedication and the velvety sound widely praised by Ensemble Diderot, but has enough jagged edges to create an emotionally charged baroque.
conclusion: An interesting lecture on the three sonnets, which seemed more like a private event by a number of visitors.
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