Uccellini Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Marco Uccellini
Label: Harmonia Mundi
Magazine Review Date: 7/1994
Media Format: CD or Download
Media Runtime: 72
Mastering:
DDD
Catalogue Number: HMU90 7066
Tracks:
| Composition | Artist Credit |
|---|---|
| Sonatas (Sonate, sinfonie et Correnti), Movement: Sonata ottava a due violini |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, arie et correnti), Movement: Sonata quarta detta 'La Trasformata' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, arie et correnti), Movement: Aria quinta sopra 'La Bergamasca' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, arie et correnti), Movement: Aria sesta sopra un balletto |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, arie et correnti), Movement: ~ |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Aria decima quarta a doi violini 'La mia Pedrina' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Aria decima quinta sopra 'La Scatola dagli agghi' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata decima ottava a doi violini |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata vigesima a doi violini |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata vigesima prima a doi violini |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata vigesima quinta |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata vigesima sesta sopra 'La Prosperina' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata vigesima settima |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata seconda detta 'La Luciminia contenta' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Sonata quarta a violino solo detta 'La Hortensa virtuosa' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas (Sonate, correnti et arie), Movement: Aria undecima a doi violini sopra 'Il Caporal Simon' |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
| Sonatas, '(L')Ozio regio', Movement: Sonata nona |
Marco Uccellini, Composer
Arcadian Academy Marco Uccellini, Composer Nicholas McGegan, Harpsichord |
Author:
Following up their much acclaimed recording of suites and sonatas by Nicola Matteis (9/92), the Arcadian Academy have produced another superb recording by a relatively unknown composer. Marco Uccellini deserves to be better known—not merely because he was the first to publish music specifically for the violin, nor because he was a prolific composer who left nine published collections of sonatas, but because the music is so good.
This recording includes sonatas for one or two violins and continuo from Uccellini's Second (1639), Third (1642), Fourth (1645) and Seventh (1668) Books. Their selection is expertly paced, framed by lively dialogue 'arias' with guitar accompaniment (inL'Emenfrodito from Op. 3 the violinists take delight in the roles of hen and cuckoo) and sonatas (La Luciminia contenta and La Hortensa virtuosa) in which Elizabeth Blumenstock, playing a 1687 Strad, and Katherine Kyme, on a 1769 Gaffino, eloquently express themselves in turn.
If the instruments on which the Arcadian Academy play are decidedly later than the music (the archlute is at least a copy of an early seventeenth-century Venetian instrument) and their playing undoubtedly more highly polished than any known at the time, the vitality and rhetoric with which they infuse these performances is emphatically illuminating. Though seemingly very idiomatically conceived for violins, these sonatas owe more to madrigals than to dance music. At times, as in the Sonata decima ottava from the Fourth Book, one can almost hear the text, so akin to speech are the lines. The pacing, use of echoes—especially in the arias on La Scatola dagli agghi, La mia Pedrina and a balletto (track 14)—and chromatic cadential formulae are very madrigalian. Uccellini provides the violins with divisions, sensuous suspensions and lilting syncopations, varying the ensemble texture with soliloquies and close-knit imitation; the three versatile continuo players of the Arcadian Academy deftly mix different bass combinations of cello, harpsichord, organ, archlute and guitar. The result—never more delightful than in the single selection taken from the Seventh Book (track 13)—is a real cracker!'
This recording includes sonatas for one or two violins and continuo from Uccellini's Second (1639), Third (1642), Fourth (1645) and Seventh (1668) Books. Their selection is expertly paced, framed by lively dialogue 'arias' with guitar accompaniment (in
If the instruments on which the Arcadian Academy play are decidedly later than the music (the archlute is at least a copy of an early seventeenth-century Venetian instrument) and their playing undoubtedly more highly polished than any known at the time, the vitality and rhetoric with which they infuse these performances is emphatically illuminating. Though seemingly very idiomatically conceived for violins, these sonatas owe more to madrigals than to dance music. At times, as in the Sonata decima ottava from the Fourth Book, one can almost hear the text, so akin to speech are the lines. The pacing, use of echoes—especially in the arias on La Scatola dagli agghi, La mia Pedrina and a balletto (track 14)—and chromatic cadential formulae are very madrigalian. Uccellini provides the violins with divisions, sensuous suspensions and lilting syncopations, varying the ensemble texture with soliloquies and close-knit imitation; the three versatile continuo players of the Arcadian Academy deftly mix different bass combinations of cello, harpsichord, organ, archlute and guitar. The result—never more delightful than in the single selection taken from the Seventh Book (track 13)—is a real cracker!'
Uccellini Chamber Works
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