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Ombra E Luce

Kallweit,Georg / Colell,Bjorn
Release Date: 02/22/2011 
Label:  Raum Klang   Catalog #: 2905   Spars Code: DDD 
Composer:  Marco UccelliniMaurizio CazzatiBjörn ColellGiovanni Battista Vitali,   ... 
Performer:  Björn ColellGeorg Kallweit
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 2 Mins. 

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Notes and Editorial Reviews



OMBRA E LUCE: Modena 1665 Georg Kallweit (vn); Björn Colell (thb/gtr) RAUMKLANG 2905 (63:42)


Music of UCCELLINI, CAZZATI, COLOMBI, VITALI, BONONCINI, RONCALLI, CORELLI, FERRARI


Ombra e Luce presents its collection of music by composers either active in or influencing the Modenese court in the middle of the 17th century with violin supported by either theorbo or Baroque guitar; the performers have arranged some of the works for this combination of Read more instruments from other settings, instrumental or vocal.


The program opens with Marco Uccellini’s violin sonata “La Luciminia contenta” (Venice, 1645), in which Georg Kallweit and Björn Colell run the gamut from pathetic sighing in the opening through hair-raising, breathless barrages of rapid notes. If the Baroque began with an exploration of relatively outré expressive manners, Uccellini’s sonata and Ombra e Luce’s performance both embody the new ideal, as well as showcasing a style of violin playing as flamboyant and richly imaginative as Antonio Vivaldi’s. The ensemble seems equally comfortable with the more straightforward yet cheerfully playful rhetoric of Maurizio Cazzati’s sonata “La Calva” (Venice, 1648). They continue by loosely stringing together four pieces from Uccellini’s op. 4, the larger publication from which they drew the sonata: three arias (the second of these sensitively expressive) interrupted by a bracing Corrente vigesima . They follow this with three movements from Giuseppe Colombi’s Libero secondo a Violino e Basso : an Adagio (actually a compound fast-slow movement) and two untitled dancelike pieces.


Their selection from Partite sopra diverse Sonate Per il Violino solo by Giovanni Battista Vitali begins with a Toccata that explores what must have been violinistic high adventure, followed by a solo Capriccio di Tromba , showcasing horn fifths recalling those that Heinrich Biber employed in his “Ascension” Sonata. The ensuing Ruggiero (played solo) shows that Germans like Biber and Johann Paul von Westhoff weren’t the only ones exploring the unaccompanied violin’s polyphonic capabilities. Kallweit’s snapping bow stroke maintains a lively interest. He’s joined in the concluding Bergamasca by Colell, who mentions in his booklet note that these movements by Vitali had no written bass parts; the period’s counterpart of the luxuriant growth he weaves around the violin part in the Bergamasca would likely have occurred to a performer of the time because of the familiarity of this popular ground bass.


Kallweit and Colell introduce a wide range of contrasting Affekten into the selections from the works of Giovanni Maria Bononcini (Bergamo, 1671), an Aria “La Pozza,” a Corrente “La Pegolotta,” an Allemanda “La Fogliana,” and a Corrente “La Montanara.” At times, as in the Allemanda, the duo takes advantage of the contrapuntal dialogue that arises between the parts.


Colell plays a suite of brief dances (Preludio, Allemanda, Corrente, Sarabanda, and Gigua) from Ludovico Roncalli’s Capricci Armonici sopra la chitarra spagnola (Bergamo, 1692) alone on guitar before Kallweit returns for the sixth sonata of Arcangelo Corelli’s epoch-making op. 5. In this sonata, the contrast between Kallweit”s idea of period performance and those of aficionados of synthetic strings and the enhanced resonances of the post-Baroque violin shows itself, not only in the opening Grave, in which he melds sensibility and free-flowing virtuosic ornamentation, but also in the more overtly technical and contrapuntal feats of the fugal Allegro that follows. Only in the Adagio does slow-motion sensibility threaten to overtake sense. The program concludes with a transcription of a Ciacona from Benedetto Ferrari”s Musiche varie a voce solo (Venice, 1637) that showcases virtuosic display by both performers.


Although Kallweit plays a period instrument, the sound he draws from it has little in common with the whining and wheezing that used to characterize such performances; his tone remains clear and trumpet-like throughout; on the other hand, his brisk articulation sounds well suited to the music. Colell switches back and forth between theorbo and Baroque guitar, providing fanciful support. The recorded sound presents both instruments close up (occasionally with extraneous noise and breathing) and without the kind of reverberation that most listeners would find excessive. Those who wish to explore this repertoire should find in Ombre e Luce both authoritative and personable guides. Warmly recommended.


FANFARE: Robert Maxham
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Works on This Recording

1.
Sonate, correnti et arie, Op. 4: Sonata no 2 "La Luciminia contenta" by Marco Uccellini
Performer:  Björn Colell (Theorbo), Georg Kallweit (Violin)
Period: Baroque 
Written: by 1645; Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 3 Minutes 49 Secs. 
2.
La Calva, sonata for violin & basso continuo (from Il secondo libro delle sonate, Op. 8) by Maurizio Cazzati
Performer:  Björn Colell (Theorbo), Georg Kallweit (Violin)
Written: 1648 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 3 Minutes 33 Secs. 
3.
Three pieces for violin & theorbo (after Giuseppe Colombi's "Libero secondo a Violino e Basso") by Björn Colell
Performer:  Björn Colell (Theorbo)
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 6 Minutes 18 Secs. 
4.
Partite sopra diverse sonate per il violone: Ruggiero by Giovanni Battista Vitali
Performer:  Georg Kallweit (Violin)
Period: Baroque 
Written: 17th Century; Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 3 Minutes 18 Secs. 
5.
Aria, detta La Pozza, for violin & continuo, Op. 4 by Giovanni Bononcini
Performer:  Björn Colell (Theorbo)
Period: Baroque 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 13 Secs. 
6.
Corrente, detta La Pegolotta, for violin & continuo, Op. 4 by Giovanni Bononcini
Performer:  Björn Colell (Theorbo)
Period: Baroque 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 3 Minutes 1 Secs. 
7.
Allemanda, detta La Fogliana, for violin & continuo, Op. 4 by Giovanni Bononcini
Performer:  Björn Colell (Theorbo)
Period: Baroque 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 3 Secs. 
8.
Corrente, detta La Montanara, for violin & continuo, Op. 4 by Giovanni Bononcini
Performer:  Björn Colell (Theorbo)
Period: Baroque 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 1 Minutes 8 Secs. 
9.
Capricci Armonici "sopra la chitarra spagnola", for violin & guitar by Ludovico Roncalli
Performer:  Georg Kallweit (Violin)
Written: 1692 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 7 Minutes 39 Secs. 
10.
Sonatas (12) for Violin and Basso Continuo, Op. 5: no 6 in A major by Arcangelo Corelli
Performer:  Björn Colell (Theorbo)
Period: Baroque 
Written: 1700; Rome, Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 11 Minutes 56 Secs. 
11.
Musiche varie a voce solo, for guitar & violin (after Benedetto Ferrari) by Björn Colell
Performer:  Georg Kallweit (Violin)
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 41 Secs. 
12.
Sonate, correnti et arie, Op 4: Aria no 1 by Marco Uccellini
Written: 1645 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 1 Minutes 17 Secs. 
13.
Sonate, correnti et arie, Op. 4: Corrente vigesima by Marco Uccellini
Written: 1645 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 1 Minutes 12 Secs. 
14.
Sonate, correnti et arie, Op 4: Aria no 2 by Marco Uccellini
Period: Baroque 
Written: by 1645; Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 54 Secs. 
15.
Sonate, correnti et arie, Op 4: Aria no 3 by Marco Uccellini
Period: Baroque 
Written: by 1645; Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 1 Minutes 46 Secs. 
16.
Partite sopra diverse sonate per il violone: Toccata by Giovanni Battista Vitali
Period: Baroque 
Written: 17th Century; Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 1 Minutes 24 Secs. 
17.
Partite sopra diverse sonate per il violone: Capriccio di Tromba by Giovanni Battista Vitali
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 44 Secs. 
18.
Partite sopra diverse sonate per il violone: Bergamasca per la lettera B by Giovanni Battista Vitali
Period: Baroque 
Written: Italy 
Venue:  Kirche Alt-Leisnig zu Polditz 
Length: 2 Minutes 52 Secs. 

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