Giuseppe Torelli
12 Concerti grossi con una pastorale, Op.8
No. 6 Concerto à Quattro, in forma di Pastorale per il Santo Natale
Year: 1708
Concerto grosso in G minor, Op. 8 No. 6: I. Grave · Vivace · Adagio
Introduction: Torelli spent much of his career in Bologna as a member of the distinguished musical establishment of San Petronio, where his close contemporary Arcangelo Corelli had once served. Torelli's concerti grossi includein each of them an example of the Christmas concerto, with a pastoral movement reminiscent of the presence of shepherds in the fields near Bethlehem in the biblical account of Christ's birth.
Giuseppe Torelli (1658-1709)
Giuseppe Torelli was an Italian violist, violinist, composer and teacher of the Baroque period. He is fully among the composers who made the Bolognese school famous and flourishing, practically one of the pillars of Italian baroque music, alongside Venetian, Roman and Neapolitan music. Torelli is best known for contributing to the development of the instrumental concerto, particularly the concerti grossi and the solo concerto for strings and basso continuo. Torelli is considered the father of the concerto genre, of which he is the author of the first concerto for a solo instrument: the violin. At the time, it was a revolutionary novelty compared to the concerto grosso, where it was not a single solo instrument but a group of soloists who interacted with the orchestra. His works also had a great influence on the development of the concerto grosso to which he imposed the three-movement form of the concerto (fast-slow-fast). This genre, eminently representative of the baroque aesthetic, is to punctuate or reinforce the intervention of the soloists. In the rapid outer movements of these concertos, the thematic material, incisive and brilliant, is always presented by the tutti, mostly with fugal motifs that create tonal antitheses. The soloists episode unfold in a more discursive manner: in the solos, idiomatic writing allows the violin voice to stand out brightly from the texture with scales, figurative motifs and crossed string passages.
In his essentially instrumental repertoire, little interest is attached to his first opuses, attention turning to his Opus 6 of 1698 and even more to his Opus 8 of 1708, two collections which, alongside Arcangelo Corelli's Opus 6, offer the first accomplished models of concerti grossi, and which, moreover, both include concertos for a single solo instrument, which gives them a certain importance in the history of the birth of the modern concerto. All elegance, nobility and fluidity, these works are worth the detour without however being able to compete with those of Corelli. In his last works, Torelli focused more on using all the technical possibilities of the violin, but also on structuring what we find in the classical concerto. He shares with Corelli and Stradella the authorship of the concerto grosso, to say the importance of his innovations in the musical world. Torelli's production includes a total of eight opuses, or 84 musical pieces, most of them chamber and orchestral instrumental compositions with soloists. Torelli is remembered today as one of the greatest exponents of the art of the violin and as a refined composer of music for this instrument, both as a soloist and in an orchestra. He also made considerable use of the solo trumpet in concertos, sinfonias and sonatas.
Lucien
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