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Trio Sonatas 1655


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Audio CD, November 16, 2004
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$18.73 & FREE Shipping on orders over $35. Details Only 1 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Trio Sonatas 1655 + Caldara: Trio Sonatas; Cello Sonatas /Parnassi Musici
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Editorial Reviews


1. Sonate (18) a 2-3, libro primo, Op. 2: La Cornara
2. Sonate (18) a 2-3, libro primo, Op. 2: La Spilimberga
3. Sonate (18) a 2-3, libro primo, Op. 2: La Frangipana
4. Sonate (18) a 2-3, libro primo, Op. 2: La Strasolda
5. Sonate (18) a 2-3, libro primo, Op. 2: La Col'Alta
6. Sonate (18) a 2-3, libro primo, Op. 2: La Raspona
7. Sonate (18) a 2-3, libro primo, Op. 2: La Donata
8. Sonate (18) a 2-3, libro primo, Op. 2: La Foscari
9. Sonate (18) a 2-3, libro primo, Op. 2: La Colloreta
10. Sonate (18) a 2-3, libro primo, Op. 2: La Zabarella
11. Sonate (18) a 2-3, libro primo, Op. 2: La Mont'Albana
12. Sonate (18) a 2-3, libro primo, Op. 2: La Porcia
13. Sonate (18) a 2-3, libro primo, Op. 2: La Valvasona
14. Sonate (18) a 2-3, libro primo, Op. 2: La Querini
15. Sonate (18) a 2-3, libro primo, Op. 2: La Torriana
16. Sonate (18) a 2-3, libro primo, Op. 2: La Manina
17. Sonate (18) a 2-3, libro primo, Op. 2: La Savorgnane

Product Details

  • Performer: Sergio Azzolini, Parnassi Musici, Martin Lutz, Diego Cantalupi, Margaret MacDuffie, et al.
  • Composer: Giovanni Legrenzi
  • Audio CD (November 16, 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: CPO
  • ASIN: B00068CVMQ
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #289,645 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

22 of 24 people found the following review helpful By Frank T. Manheim on March 8, 2007
Parnassi Musici is a period instrument ensemble that draws its core musicians from the Southwest German Radio Orchestra. It has carved out a special niche for itself by performing rare, high-quality Baroque music retrieved through research in libraries and music repositories in Europe.

I'm been impressed by Parnassi's resourcefulness and taste in planning recording projects. "A little of this and a little of that" recordings definitely have their place. But there comes a time when people get seriously interested in individual Baroque composers and want substantial meals - not just hors d'ouevres.

For example, a search for Legrenzi in Amazon yielded 75 CD's but the great majority include only a single song, selection from an opera or motet, or instrumental work. The present Opus 2 set of 17 trio sonatas is striking not only in the fact that Parnassi put this collection together. Each of the short sonatas (2-6 minutes long) is named for a prominent Venetian family (e.g. La Cornara, La Spilimberga, La Strasolda, etc). This bold concept could hardly fail to attract attention, but it also carried risks. What would be the consequences in Legrenzi's relations to influential people if some pieces were more (or less) inspired than others? The daring and confident quality of Legrenzi's music is mirrored in the way he dealt with this potential problem. Each of the sonatas is distinctive stylistically. Some open with dramatic chords, others lead off with solo instruments. Unusual rhythmic devices, harmonies, or virtuosic technical displays abound - and the bass often plays a prominent role. It's often hard to believe that such advanced music was composed in 1653 - more than 50 years before Handel, Bach, and Vivaldi's earliest works.
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7 of 7 people found the following review helpful By Stephen Adams on February 19, 2011
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I bought this disc purely out of historical curiosity, after realizing Legrenzi's importance in the rise of purely instrumental music in the early Baroque. That curiosity was fully satisfied: one hears the dancy sound of Monteverdi's string writing, as well as the Trio Sonata texture that came afterward in Rosenmuller, Corelli, Vivaldi. What I wasn't expecting was the pure joy of this music, its inventiveness, not to mention the sensitivity of the performers. As other reviewers have said, there are 17 Sonatas -- a few lasting less than 3 minutes -- all tagged with proper names as character pieces. But this description doesn't begin to convey the variety and captivation of these little pieces. Continuous listening is aided by the changes of instrumentation in the ensemble. Like the second reviewer above, I do not comprehend the reservations about recording quality given by the first reviewer. I will return to this disc many times with pleasure.
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3 of 3 people found the following review helpful By Giordano Bruno on October 30, 2010
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Or, if you can't, at least relish a joyful performance when you hear one! This is a joyful, vigorous, and highly proficient performance of musical entertainments by a composer, Giovanni Legrenzi (1626-1690), who served as maestro di capella of St. Mark's in Venice and who was revered by composers of the next generation as one of their strongest influences. The 17 brief 'sonatas for two and three', published in 1655, are not sonatas in the later three-section 18th C sense; instead they are structurally 'conservative' sonatas as that term was used by Frescobaldi and other Italians on the compositional cusp of the late Renaissance and early baroque. Conservative in structure they are, but in every other way quite innovative and diverse!

The only previous reviewer described them succinctly: ""The daring and confident quality of Legrenzi's music is mirrored in the way he dealt with this potential problem [of the dedication of each sonata to a prominent Venetian family]. Each of the sonatas is distinctive stylistically. Some open with dramatic chords, others lead off with solo instruments. Unusual rhythmic devices, harmonies, or virtuosic technical displays abound - and the bass often plays a prominent role. It's often hard to believe that such advanced music was composed in 1653 - more than 50 years before Handel, Bach, and Vivaldi's earliest works. Hearing this set of sonatas, it occurred to me that Legrenzi's example might have inspired his student, Vivaldi, to likewise be bold in his own career as a composer."" Bravo! Well said! But then the reviewer gave the CD only three stars because, he claimed, on some of the pieces the wind instruments were too prominent, perhaps too closely miked. That's harsh.
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