Albinoni: Per diletto, Suonate a tre trattenimenti armonici & Sinfonia a 4 Harmonia Urbis & Marco Silvi

• Tomaso Albinoni (1671 - 1751): Trattenimenti armonici per camera, divisi in dodici sonate à violino, violone e cembalo, Opera sexta, Sonata No. 6 in A Minor:
• 1 Opera sexta, Sonata No. 6 in A Minor: I. Adagio 02:56
• 2 Opera sexta, Sonata No. 6 in A Minor: II. Allegro 03:44
• 3 Opera sexta, Sonata No. 6 in A Minor: III. Adagio 01:55
• 4 Opera sexta, Sonata No. 6 in A Minor: IV. Allegro 02:43
• Suonate a tre doi violini e violoncello col basso per l’organo, Opera prima, Sonata No. 1 in D Minor:
• 5 Opera prima, Sonata No. 1 in D Minor: I. Grave 01:53
• 6 Opera prima, Sonata No. 1 in D Minor: II. Allegro 02:01
• 7 Opera prima, Sonata No. 1 in D Minor: III. Largo 02:07
• 8 Opera prima, Sonata No. 1 in D Minor: IV. Allegro 01:42
• Trattenimenti armonici per camera, divisi in dodici sonate à violino, violone e cembalo, Opera sexta, Sonata No. 11 in A Major:
• 9 Opera sexta, Sonata No. 11 in A Major: I. Grave adagio 01:56
• 10 Opera sexta, Sonata No. 11 in A Major: II. Allegro 03:08
• 11 Opera sexta, Sonata No. 11 in A Major: III. Adagio 01:27
• 12 Opera sexta, Sonata No. 11 in A Major: IV. Allegro 03:05
• Suonate a tre doi violini e violoncello col basso per l’organo, Opera prima, Sonata No. 9 in D Major:
• 13 Opera prima, Sonata No. 9 in D Major: I. Grave 02:01
• 14 Opera prima, Sonata No. 9 in D Major: II. Allegro assai 02:06
• 15 Opera prima, Sonata No. 9 in D Major: III. Grave 02:31
• 16 Opera prima, Sonata No. 9 in D Major: IV. Allegro 01:20
• Suonate a tre doi violini e violoncello col basso per l’organo, Opera prima, Sonata No. 8 in B Minor:
• 17 Opera prima, Sonata No. 8 in B Minor: I. Grave 03:05
• 18 Opera prima, Sonata No. 8 in B Minor: II. Allegro 01:46
• 19 Opera prima, Sonata No. 8 in B Minor: III. Grave 01:57
• 20 Opera prima, Sonata No. 8 in B Minor: IV. Allegro 01:21
• Trattenimenti armonici per camera, divisi in dodici sonate à violino, violone e cembalo, Opera sexta, Sonata No. 2 in G Minor:
• 21 Opera sexta, Sonata No. 2 in G Minor: I. Grave Adagio 02:34
• 22 Opera sexta, Sonata No. 2 in G Minor: II. Larghetto 04:50
• 23 Opera sexta, Sonata No. 2 in G Minor: III. Largo 02:22
• 24 Opera sexta, Sonata No. 2 in G Minor: IV. Allegro 03:09
• Suonate a tre doi violini e violoncello col basso per l’organo, Opera prima, Sonata No. 3 in A Major:
• 25 Opera prima, Sonata No. 3 in A Major: I. Grave 02:04
• 26 Opera prima, Sonata No. 3 in A Major: II. Allegro 02:08
• 27 Opera prima, Sonata No. 3 in A Major: III. Grave 02:30
• 28 Opera prima, Sonata No. 3 in A Major: IV. Allegro 01:56
• Sinfonia a 4 in B-Flat Major:
• 29 Sinfonia a 4 in B-Flat Major: I. Allegro 02:53
• 30 Sinfonia a 4 in B-Flat Major: II. Adagio 00:42
• 31 Sinfonia a 4 in B-Flat Major: III. Allegro 01:29
• Total Runtime 01:11:21

Info for Albinoni: Per diletto, Suonate a tre trattenimenti armonici & Sinfonia a 4

Tomaso Albinoni, like both Alessandro and Benedetto Marcello and a number of active Venetian musicians, was a dilettante di musica – namely, someone who never entered the employment of any patron or institution. He was able to pursue music as a full-time career and described himself more simply as “musico di violino”. With authoritative booklet notes written by Professor Michael Talbot, this recording by Harmonia Urbis – which is a Roman ensemble collaborating with leading specialists in baroque music – provides an excellent introduction to Albinoni’s chamber music output through a selection of his most beautiful sonatas chosen from the Trattenimenti armonici per camera a violino, violone e cembalo, Op. 6, and his Suonate a tre, Op. 1. The sonatas of Op. 6 belong to the distinctive tradition of chamber sonatas that have no overt connection with the dance. In fact their form is the same as that of the so-called Sonate da chiesa. The trio sonatas of Op. 1 mark the Albinoni’s début in instrumental music. In these earlier relatively early works he was obviously under the strong influence of Corelli, who must at least have known about the younger man through roundabout connections.

Harmonia Urbis
Marco Silvi, harpsichord, organ

Marco Silvi
The Italian organist, harpsichordist and choral conductor, Marco Silvi, he earned diplomas in organ and organ composition, in choral music and choral conducting, and harpsichord .He studied Gregorian chant and liturgy at the Pontificio Istituto di Musica Sacra in Rome. He has attended numerous courses on early music for organ held by H. Vogel, L.G. Uriol, Jacques van Oortmerssen, W. van de Pol, R. Saorgin, J. Boyer and Jeanne Bovet. He then improved himself in the harpsichord and the clavichord with Maestro Florian Grampp He attended also the courses on the implementation of the Basso Continuo held F. Del Sordo and J.B. Christensen.

Marco Silvi is Professor of organ and basso continuo performance practice of Baroque music at the Scuola “T.L. da Victoria”, organ, Gregorian chant and sacred music at the Pontificio Seminario Romano Maggiore.

Marco Silvi is titular organist of the Basilica di S. Sabina in Rome. For years, he is the Director of the Baroque ensemble Roma Collegium Musicum, which he founded, which pays special attention to philological performance practice, playing only on original instruments or copies of historical instruments.

This album contains no booklet.