Fantastico. Maestro Pozzi come sempre ispiratissimo. Bravo Maestro Scorticati che non conoscevo, grande flautista.
@Orpheus100
6 жыл бұрын
Absolutely fantastic performance: virtuosic, musical and with marvellous ornamentation. Without hopping around, yet expressive and still flauto DOLCE. Please keep up your good work, Marco!
@voiceflutekf
6 жыл бұрын
Thank you very much, Markus! You know, how highly I think of your judgment. Thank you again.
Thank you for this beautifull performance! Is this your own ornamentation or that of a composer/musician of the period? (Torelli, Pinsendel etc.) :)
@voiceflutekf
10 ай бұрын
Hi! Thank you! I wrote it, both in the recorder and in the bass part. What you hear in the first movement, more precisely, is as follows: A1 (Corelli), A2 (recorder: my ornam.; bass: the 2nd violin part of Geminiani's concerto grosso version of the sonata), B1 (bass: same as A2), B2 (recorder and bass: both my ornam.). The rest is mine, inspired by Corelli, Babell, Castrucci (i.e. Giga of Corelli's Op.5,8), etc...
@Jesuswinsbirdofmichigan
2 жыл бұрын
If I'm out of place, excuse/ the whole performance is super. My complaint is solely about the visual editing. Did someone just get hired fresh from receiving their degree? This is not a sporting event. Neither your chance to go freaking crazy by seeing how many view angles that are allowed. Grow up before your audience have to mention it.
@1flutewalker
6 жыл бұрын
Spectacular! (would you share the maker of your recorder?)
@voiceflutekf
6 жыл бұрын
This is an alto by Pietro Sopranzi. Sara Campobasso, appearing in the other videos, plays an instrument by the same maker. Thank you again for your appreciation.
@1flutewalker
6 жыл бұрын
The two recorders in the concert seem perfectly matched in tone and yet yours seems to have slightly more presence and volume, which works perfectly. And yet this is opposite to what you might think from the materials. And before there are several thousand positive comments here, which will certainly be happening within a few weeks, one more question if you please: how much of your incredible ornamentation is planned and how much is spontaneous in the moment? Thank you Marco, it's a thrill to be in touch.
@voiceflutekf
6 жыл бұрын
Dear John, thank you very much for your nice words. Yeah, no problem, I can give you a little insight into my proceeding. Please note, that this whole concert has been a sort of a presentation of our next CD recording, which will be published within the next few months. As for the Sonata VII by Corelli, I decided to arrange it in the following way: In the Preludio I used the second violin part of the concerto grosso version by Francesco Geminiani (upper harpsichord hand), to which I matched the recorder variations in the first ritornello. As for the echoes and suggestions they involve, I tried to fill the shoes of an imaginary soloist, who came to London shortly after having performed Telemann’s Concerto per Camera for recorder and two violins, somewhere near Darmstadt, or Hamburg… As for the last ritornello, I decided to add tuplets on both voices. Months later, I discovered that some arranger back in the 18th c. had done the same, although only in the upper voice. As for the Corrente’s and the Giga’s doubles, there is plenty of examples in the baroque literature. I composed my own versions. Now about the Sarabanda. Short after the beginning of the first ritornello there is a hidden quote of my favourite moment in the Dantone-Montanari's Corelli recording (Sonata nr. 5, first measure of the ritornello). The particular style I like to use when improvising ornaments for an Italian sonata like this one, is the one you can recognize by hearing or playing the Italian fashioned ornamentation composed in England at the beginning of the 18th century, i.e., the anonymous “eminent Master” who arranged two Corelli sonatas for recorder in 1707, “Corelli’s” and Babell’s ornamentation of their own sonatas and Handel’s arias, and so on. Yes, as for this very particular occasion, and because I had it already prepared for the CD recording, I already knew what I was about to play in the slow tempo (more precisely, I decided at that very moment, during the performance, to stick to it more or less). But anyway, I simply put on paper the results of the improvisations I liked most, trying to blend them nicely together. In the rest of the concert, you can hear further purposely written variations, such as in the Corrente and the Gavotta ritornellos of Concerto nr. 9 (which were fun to compose, because they had to be played by two recorders), and in the Andante and the Presto of the G minor sonata by G.F. Handel. All the rest has been produced “on the spot” by me and Sara.
@1flutewalker
6 жыл бұрын
Thank you Marco, this gives me a really good perspective on how it's put together. I have a similar (but much less polished) ensemble here in Vermont (USA) and as the recorder player sometimes I hear more variations than I dare to pull off spontaneously. I wonder if the written passages from the 18th century mean that players often wrote these ornaments out, or rather were they meant to be examples of what the best players routinely could come up with extemporaneously. BTW.... do you give Skype lessons?
@voiceflutekf
6 жыл бұрын
Hi John. Musicians used to improvise all the time, which is not that difficult if you get used to it, even in the fast movements. Only thing, if they wanted to publish their music they had to be sure that it was going to work smoothly and well, i.e., in terms of Melodielehre and counterpoint. Same as for us today, when we decide to make a recording... (We can keep in touch via Messenger)
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