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  • Locatelli: Concerti Grossi, Op. 1 - The Raglan Baroque Players / Nicholas Kraemer / Elizabeth Wallfisch
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Locatelli: Concerti Grossi, Op. 1 - The Raglan Baroque Players / Nicholas Kraemer / Elizabeth Wallfisch Import


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Audio CD, Import, August 22, 1995
$47.96
$44.95 $14.30

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Product Details

  • Orchestra: The Ragland Baroque Players
  • Conductor: Elizabeth Wallfisch, Nicholas Kraemer
  • Composer: Pietro Antonio Locatelli
  • Audio CD (August 22, 1995)
  • Number of Discs: 2
  • Format: Import
  • Label: Hyperion UK
  • ASIN: B000003000
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #821,278 in Music (See Top 100 in Music)

Disc: 1
1. Concerto Grosso No 1 In F: Allegro
2. Concerto Grosso No 1 In F: Allegro
3. Concerto Grosso No 1 In F: Largo
4. Concerto Grosso No 1 In F: Allegro
5. Concerto Grosso No 2 In C Minor: Adagio
6. Concerto Grosso No 2 In C Minor: Allegro
7. Concerto Grosso No 2 In C Minor: Largo
8. Concerto Grosso No 2 In C Minor: Allegro
9. Concerto Grosso No 2 In C Minor: Allegro
10. Concerto Grosso No 3 In B Flat: Adagio
See all 26 tracks on this disc
Disc: 2
1. Concerto Grosso No 7 In F: Allegro
2. Concerto Grosso No 7 In F: Largo
3. Concerto Grosso No 7 In F: Allegro
4. Concerto Gross No 8 In F Minor: Largo
5. Concerto Gross No 8 In F Minor: Grave
6. Concerto Gross No 8 In F Minor: Vivace
7. Concerto Gross No 8 In F Minor: Vivace
8. Concerto Gross No 8 In F Minor: Largo Andante
9. Concerto Gross No 8 In F Minor: Andante
10. Concerto Gross No 8 In F Minor: Largo Andante
See all 28 tracks on this disc

Editorial Reviews

Amazon.com

It's important to realize when it comes to Baroque music, "opus 1" does not mean the first piece of music the composer ever wrote. Rather, it refers to the first music he saw fit to publish. Each published opus consisted of a selection of the best of a large body of manuscript works, many of which would likely have become popular and gained wide circulation prior to appearing in print. Locatelli's Opus 1 concertos are among his very best pieces. They balance instrumental virtuosity with characterful melodic writing better than the Opus 3 concertos, for instance, and they are extremely well played and recorded here. --David Hurwitz

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Most Helpful Customer Reviews

3 of 5 people found the following review helpful By Ross Kennett on February 7, 2007
Format: Audio CD
Locatelli's opus 1, 12 Concerti Grossi, published in 1721, follow the great Corelli's 12 Concerti Grossi, developed in the late 17th century and published posthumously in 1714. The concerto grosso form was a group of soloists, usually two violins and cello, the concertino, with an accompaning string group, the ripieno. This form was soon challenged by the Vivaldi model of virtuoso soloist with string accompaniment, but the concerto grosso survived untill the late 1760s. Guiliani took it to England where Handel's opus 6, "Mr Handel's twelve grand concertos" was published in 1740.

These concerti by Locatelli are good examples of the Corellian concerto, they have their share of virtuosity and melodic passages. They are not as good as Corelli, only Handel's could claim that, but it is fine baroque, and it is very well played by Elizabeth Wallfisch and the Raglan Baroque.

Recommended to all baroque lovers.
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2 of 7 people found the following review helpful By Hexameron on June 24, 2007
Format: Audio CD
First of all, the first reviewer's discussion of a Baroque recording clearly indicates that there is an Amazon glitch on this page. If my review appears on other pages, I apologize, and I am discussing the Hyperion label "Arabesques" Liszt recording with Leslie Howard. This is Volume 35 in the massive survey of Liszt's piano music and it contains Liszt's transcriptions of music from lesser-known Russian and Hungarian composers. Some of the earlier versions of these pieces can be found elsewhere on other Volumes, like this one: Liszt: Gaudeamus Igitur; Pièces d'occasion.

Borodin and Cui notwithstanding, Liszt's exploration into Russian music centers mostly on obscure Russian composers: Alyabiev, Bulakhov, Wielhorsky, Dargomizhsky, and Bulhakov (different than Bulakhov). As always, Liszt's transcriptions are impeccable and serve to enhance everything inherently appealing about these salon pieces; the melodic profiles and decorative filigree make an easy passage to the single timbre of the piano. Honestly, these little obscurities are not bad. Bulakhov's "Chanson bohemienne," for instance, is strikingly lyrical. I've found much to praise in the first version of Wielhorsky's "Lyubila ya" and the second version is even more polished. Ultimately, the two winners are the Tarentelle's from Dargomizhsky and Cui. Dargomizhsky's is especially fine, memorable as much for its rhythms as for its thematic material. Cui's "Tarentelle" is fairly large (exceeding 9 minutes) and effuses constant charm.

It's no surprise that Liszt, the champion of all things Hungarian, paid special attention to lesser-known Hungarian composers.
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