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Michala Petri, Mahan Esfahani - Arcangelo Corelli: La Follia, Six Sonatas, Op.5 Nos. 7-12 (2014)

Posted By: Designol

Date: 25 Sep 2024 14:47:17

Michala Petri, Mahan Esfahani - Arcangelo Corelli: La Follia, Six Sonatas, Op.5 Nos. 7-12 (2014)

Arcangelo Corelli was "world famous" even in the world of his day. Copies of Corelli's works appeared in St. Petersburg as well as in Constantinople, Stockholm and even in America, where Thomas Jefferson spoke of being charmed completely by Corelli's music.

Despite its popularity only a handful of his original manuscripts exist today and the Violin Sonatas Op. 5 have a place of honor. The pieces on this album were drawn from the second half of Op. 5 and in the original edition of 1700, published as "Parte seconda: Preludii, Allemande, Correnti, Sarabande, Gavotte, e Follia." Baroque sonatas having been inspired by dances, and playable on violin and harpsichord or ona variety of instruments, in this case, recorder and harpsichord.

The easy-held nature of the sonatas allows great freedom for ornamentation and improvisation, which Michala Petri and Mahan Esfahani savor with pleasure.

A decade after Corelli’s Op. 5 Violin Sonatas were introduced to England, writer and musician Roger North observed, ‘It is wonderful what a scratching of Corelli there is everywhere – nothing will relish but Corelli’. The set represented the defining moment of the early Baroque violin sonatas, and it wasn’t just violinists doing the relishing. Recorder transcriptions abounded, and Michala Petri addresses the ‘sonata da camera’ leg of Op. 5 in the company of a harpsichordist fast turning into a serial and lively collaborator: Mahan Esfahani. Not since Richard Egarr teamed up with Andrew Manze (Harmonia Mundi) has Op. 5 enjoyed such vivacious and inventive continuo realisation.

Petri and Esfahani’s is an invigorating ensemble effort, each sparking off the other to foster a captivating directness whether sparkling or soulful. Nothing is safe or reverential, and yet there’s no iconoclastic agenda either. Preludios are ideally urbane; an almost Bachian dialogue invades No. 8’s Giga, while La Folia emerges beautifully paced, artfully embellished and vividly characterised. Compared to the violin, there’s an inevitable chaste innocence to the liquid sound of Petri’s recorder – which Esfahani is able to subvert with sly humour. If the violin (as wielded by Manze) remains Op. 5’s true home, the perspective provided by this newcomer undoubtedly relishes.

Review by Paul Riley, BBC Music Magazine

It’s rare to experience the level of artistic rapport heard on this recording from the Danish recorder player Michala Petri and Iranian-born harpsichordist Mahan Esfahani. Corelli’s Op 5 provides the framework for a remarkable demonstration of not only the rich, idiomatic possibilities for transcription from violin to recorder but, significantly, the extraordinary levels of dialogue (trs 1 and 15) and genuine inspiration of the moment it inspires.

In Petri’s capable hands, the recorder becomes a medium through which she conveys a more vocal interpretation of thematic material than ever a violin could. From Corelli’s logical, elegant bass-lines, Esfahani crafts the most imaginative and engaging accompaniments and repartee I have ever heard, each phrase, section and movement a skilful and stylish response (trs 1 and 14), to which he brings an astonishing range of techniques (trs 8 and 9) and instrumental colour (trs 13, 17 and 19). The musical chemistry between the two musicians is palpable and most evident in the quick exchanges in the faster movements (trs 5, 9, 11 and 20). While there are moments of both sublime simplicity and compelling declamation (tr 12), equally there is joyfulness and banter. Together, Petri and Esfahani take the application of ornamentation to new levels of sophistication (trs 2, 3 and 16), exploring the implications of the music itself, commenting and reflecting on it by they way they choose to embellish repeats and points of imitation.

This is a recording that will repay repeated listening as a masterclass in musical collaboration. It breaks new and higher ground.

Review by Julie Anne Sadie, Gramophone

Arcangelo Corelli at Allmusic
Arcangelo Corelli at Wiki

Michala Petri (recorder)
Mahan Esfahani (harpsichord)

Tracklist:

01. Sonata in G minor, Op.5 No.12 'La Follia' (10:13)

Sonata in G minor, Op.5 No.7
02. I. Preludio. Vivace (2:06)
03. II. Corrente. Allegro (3:49)
04. III. Sarabande. Largo (1:47)
05. IV. Giga. Allegro (2:29)

Sonata in C major, Op.5 No.9
06. I. Preludio. Largo (4:07)
07. II. Giga. Allegro (3:04)
08. III. Adagio (0:35)
09. IV. Tempo di Gavotta. Allegro (2:50)

Sonata in G major, Op.5 No.11
10. I. Preludio. Adagio (1:31)
11. II. Allegro (2:30)
12. III. Adagio (0:44)
13. IV. Vivace (2:05)
14. V. Gavotta. Allegro (5:08)

Sonata in G minor, Op.5 No.8
15. I. Preludio. Largo (3:28)
16. II. Allemanda. Allegro (2:21)
17. III. Sarabanda. Largo (6:15)
18. IV. Giga. Allegro (2:05)

Sonata in G major, Op.5 No.10 -
19. I. Preludio. Adagio (1:40)
20. II. Allemanda. Allegro (2:10)
21. III. Sarabanda. Largo (1:59)
22. IV. Gavotta. Allegro (0:43)
23. V. Giga. Allegro (2:17)

EAC log

Exact Audio Copy V1.3 from 2. September 2016

EAC extraction logfile from 3. April 2018, 21:00

Michala Petri, Mahan Esfahani / Corelli - La Follia

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DR log

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-04-05 00:20:08

––––––––––––––––––––––––––––––––––––––––
Analyzed: Michala Petri, Mahan Esfahani / Corelli - La Follia
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -6.04 dB -20.45 dB 10:13 01-Sonata in G minor, Op.5 No.12 'La Follia'
DR9 -6.34 dB -19.85 dB 2:06 02-Sonata in G minor, Op.5 No.7 - I. Preludio. Vivace
DR11 -7.06 dB -21.91 dB 3:49 03-Sonata in G minor, Op.5 No.7 - II. Corrente. Allegro
DR8 -7.12 dB -19.72 dB 1:47 04-Sonata in G minor, Op.5 No.7 - III. Sarabande. Largo
DR11 -7.37 dB -21.27 dB 2:29 05-Sonata in G minor, Op.5 No.7 - IV. Giga. Allegro
DR10 -9.62 dB -24.80 dB 4:07 06-Sonata in C major, Op.5 No.9 - I. Preludio. Largo
DR13 -9.02 dB -25.16 dB 3:04 07-Sonata in C major, Op.5 No.9 - II. Giga. Allegro
DR7 -9.72 dB -21.68 dB 0:35 08-Sonata in C major, Op.5 No.9 - III. Adagio
DR10 -6.06 dB -20.31 dB 2:50 09-Sonata in C major, Op.5 No.9 - IV. Tempo di Gavotta. Allegro
DR10 -6.57 dB -19.85 dB 1:31 10-Sonata in G major, Op.5 No.11 - I. Preludio. Adagio
DR11 -6.59 dB -21.08 dB 2:30 11-Sonata in G major, Op.5 No.11 - II. Allegro
DR8 -9.26 dB -22.51 dB 0:44 12-Sonata in G major, Op.5 No.11 - III. Adagio
DR10 -6.99 dB -20.20 dB 2:05 13-Sonata in G major, Op.5 No.11 - IV. Vivace
DR10 -6.18 dB -20.30 dB 5:08 14-Sonata in G major, Op.5 No.11 - V. Gavotta. Allegro
DR9 -7.67 dB -20.39 dB 3:28 15-Sonata in G minor, Op.5 No.8 - I. Preludio. Largo
DR10 -8.54 dB -21.81 dB 2:21 16-Sonata in G minor, Op.5 No.8 - II. Allemanda. Allegro
DR9 -7.53 dB -21.00 dB 6:15 17-Sonata in G minor, Op.5 No.8 - III. Sarabanda. Largo
DR10 -8.49 dB -21.34 dB 2:05 18-Sonata in G minor, Op.5 No.8 - IV. Giga. Allegro
DR8 -6.79 dB -19.90 dB 1:40 19-Sonata in G major, Op.5 No.10 - I. Preludio. Adagio
DR10 -8.04 dB -21.06 dB 2:10 20-Sonata in G major, Op.5 No.10 - II. Allemanda. Allegro
DR8 -8.58 dB -20.39 dB 1:59 21-Sonata in G major, Op.5 No.10 - III. Sarabanda. Largo
DR9 -9.19 dB -21.89 dB 0:43 22-Sonata in G major, Op.5 No.10 - IV. Gavotta. Allegro
DR10 -7.60 dB -20.91 dB 2:17 23-Sonata in G major, Op.5 No.10 - V. Giga. Allegro
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 23
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 721 kbps
Codec: FLAC
================================================================================

All thanks to original releaser

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