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Pietro Locatelli (1695-1764)
Nationality:
Italian
Born: September 3, 1695, Bergamo Died: March 30, 1764, Amsterdam (age 68)
Sonata in d minor, Op. 6, VII Sonate a violino solo e basso da camera, No. 12
(for violin and continuo)
| 3:48 | I. | Adagio | |
| 3:16 | II. | Allegro | |
| 2:56 | III. | Andante | |
| 3:20 | IV. | Allegro | |
| 5:51 | V. | Capriccio Prova dell'Intonazione |
Duration: 19 minutes (approximately)
Published:
1737 (age 41-42)
1 recording,
5 videos
autoopen
autoplay
3:48
Igor Ruhadze, Mark Dupere, Vaughan Schlepp
I.
Adagio
3:16
Igor Ruhadze, Mark Dupere, Vaughan Schlepp
II.
Allegro
2:56
Igor Ruhadze, Mark Dupere, Vaughan Schlepp
III.
Andante
3:20
Igor Ruhadze, Mark Dupere, Vaughan Schlepp
IV.
Allegro
5:51
Igor Ruhadze, Mark Dupere, Vaughan Schlepp
V.
Capriccio Prova dell'Intonazione
Related Composers
Arcangelo Corelli (1653-1713)
Teacher
Nationality:
Italian
Born: February 17, 1653, Fusignano Died: January 8, 1713, Rome (age 59)
glossary
- adagio [It]—slow tempo, often implying a lyrical, poignant character
- allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
- andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
- camera [I], da camera, per camera—room; chamber. Used in "Sonata da camera" to distinguish a "chamber" sonata from a "church" sonata (Sonata da chiesa). A chamber sonata tends to include dance movements whereas a church sonata emphasizes counterpoint. Such distinctions are often quite blurry in practice.
- capriccio, caprice, capriccioso, capricieux, capricieuse—a short character piece, typically in a humorous, fanciful, or playful manner. The concept juxtaposes the improvisatory free-form fantasy against the more formal, "serious" and logically "worked-out" sonata forms.Within a caprice, the range of expression may well include the serious and dark as well as demanding extraordinary technical skills such as a prelude or etude.
- chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
- continuo, basso continuo, b.c., figured bass, thorough bass, basse chifrée—During the Baroque Era, a term for an improvised (realized) instrumental accompaniment specified by a symbolic notation for chords and a written bass line (i.e. figured bass). A continuo "part" usually implies multiple (but typically unspecified) instruments, e.g. one for a strong bass line (e.g. cello) and another for chords (e.g. lute, keyboard, organ). A continuo part may be realized by keyboard alone, and sometimes played by a bass melody instrument alone (without harmonies). wiki
- opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
- sonata, sonate, suonato—a complicated term. Originally, "sounded" rather than "sung" (sonar vs. cantar), e.g. instrumental music. According to historical period, sonata began to imply a formal plan of movements as well as the structure within a single movement, e.g. sonata form. In general usage as a work title, it designates a multi-movement piece for solo or duo instruments with one of the instruments enjoying a feature role.