The second set of Corelli's Op. 5 sonatas, featured on this album, are largely Sonate da camera, characterized by dances, in contrast to the Sonate da chiesa (church sonatas) of the first group.
Compositional Technique
Sonata No. 12, titled "Follia," is not a sonata but a set of 22 variations on a 15th-century Portuguese dance tune, which Corelli's pupil Geminiani considered the ultimate work of violin literature.
Composition History
Corelli's Violin Sonatas, Op. 5, were dedicated on January 1, 1700, to Sophie Charlotte, the Electress of Brandenburg, who was known for her musicality.
Interpretation
The ornaments used by violinist François Fernandez in this recording are inspired by Corelli's own style and other 18th-century ornamentations, including those by Corelli's pupil Francesco Geminiani.
Recording & Production
The recording uses a diapason of a'=400 Hz, almost a whole tone below modern pitch, which is within the range of Roman pitch for Corelli's era.
Cultural Impact
Corelli's music, particularly his sonatas for solo violin and continuo, was extraordinarily popular in places as far away as England, with one writer noting, "nothing will relish but Corelli."
Interpretation
The performers chose to omit a cello accompaniment for the bass line, opting for harpsichord alone, as the original title page specifies "violone ò cimbalo" (violone or harpsichord).
