A Cinque: String Sonatas between XVII & XVIII Century Il Trattenimento Armonico ensemble & Nicola Reniero

• Giovanni Legrenzi (1626 - 1690): La Marinona_M2444:
• 1 Legrenzi: La Marinona_M2444 05:28
• La Fugazza_M2444:
• 2 Legrenzi: La Fugazza_M2444 05:36
• Georg Muffat (1653 - 1704): Sonata I (Armonico tributo):
• 3 Muffat: Sonata I (Armonico tributo)_MOV 1_Grave - Allegro & Presto_M2444 07:44
• 4 Muffat: Sonata I (Armonico tributo)_MOV 2_Allemanda_M2444 03:49
• 5 Muffat: Sonata I (Armonico tributo)_MOV 3_Grave_M2444 04:06
• 6 Muffat: Sonata I (Armonico tributo)_MOV 4_Gavotta_M2444 01:03
• 7 Muffat: Sonata I (Armonico tributo)_MOV 5_Grave_M2444 01:09
• 8 Muffat: Sonata I (Armonico tributo)_MOV 6_Minuetto_M2444 01:24
• Tomaso Albinoni (1671 - 1751): Sonata op.2 n.6:
• 9 Albinoni: Sonata op.2 n.6_Mov 1_Adagio_M2444 02:04
• 10 Albinoni: Sonata op.2 n.6_Mov 2_Allegro_M2444 02:54
• 11 Albinoni: Sonata op.2 n.6_Mov 3_Grave_M2444 01:56
• 12 Albinoni: Sonata op.2 n.6_Mov 4_Allegro_M2444 02:20
• Sonata op.2 n.3:
• 13 Albinoni: Sonata op.2 n.3_Mov 1_Largo_M2444 03:52
• 14 Albinoni: Sonata op.2 n.3_Mov 2_Allegro_M2444 02:25
• 15 Albinoni: Sonata op.2 n.3_Mov 3_Grave_M2444 02:41
• 16 Albinoni: Sonata op.2 n.3_Mov 4_Allegro_M2444 02:01
• Sonata in Sol minore_TWV 44-33:
• 17 Albinoni: Sonata in Sol minore_TWV 44-33_MOV 1_Grave_M2444 01:49
• 18 Albinoni: Sonata in Sol minore_TWV 44-33_MOV 2_Allegro_M2444 02:18
• 19 Albinoni: Sonata in Sol minore_TWV 44-33_MOV 3_Adagio_M2444 02:24
• 20 Albinoni: Sonata in Sol minore_TWV 44-33_MOV 4_Vivace_M2444 01:50
• Total Runtime 58:53

Info zu A Cinque: String Sonatas between XVII & XVIII Century

Der fünfstimmige Satz für Streichinstrumente erlebte im 16. und 17. Jahrhundert seine größte Entwicklung, geriet dann aber zunehmend in Vergessenheit. Das am häufigsten verwendete Instrumentalensemble bestand aus zwei Violinen, Alt- und Tenor-Viola da Braccio, Cello und Basso Continuo. Das Instrument dieses Quintetts, das zunehmend aufgegeben wird, ist die Tenorbratsche, die in dieser Aufnahme in ihrer ursprünglichen Besetzung aus dem späten 17. Jahrhundert eingesetzt wird.

Il Trattenimento Armonico
Nicola Reniero, Leitung, Cembalo

Nicola Reniero
is a musician (organist and harpsichordist) with a very strong musical personality.

He mostly dedicates his life to the execution and the study of the 16th, 17th and 18th century music, especially Italian.

During his career, he has played in many concerts in Italy and abroad (Europe, U.S.A., South America, Japan) both as soloist and figured bass player to orchestras, chamber ensembles and vocal groups (L’Arte dell’Arco, I Solisti Filarmonci Italiani, I Virtuosi Italiani, Philarmonische Camerata Berlin, Accademia d’Arcadia, Orchestra del Teatro Olimpico di Vicenza, Alessandro Stradella Consort, Orchestra di Padova e del Veneto, Reale Corte Armonica Caterina Cornaro, Orchestra d’Archi Italiana, I Madrigalisti Ambrosiani, I Cantori di Santomio, and many others), as well as conductor in several vocal-orchestral groups, or directed by prestigious conductors and soloists (C. Hogwood, G. Leonhardt, M. Radulescu, R. Clemencic, S. Vartolo, C. Miatello, M. Stockausen, M. Brunello, C. Desderi, P. Wispelwey, Pinchas Zukerman and M. Maisky).

He has also played in television and radio concerts.

With the group “L’Arte dell’Arco” (of which he was one of the founders) he had developed a remarkable activity of recording (Dynamic, Deutsche Harmonia Mundi, Brilliant Classics, CPO, ASV) and concerts until 2007, mostly dedicated to unknown music. With the same group he engaged to the complete recording of Tartini’s violin concertos and he recorded a CD of Vivaldi’s music under the direction of C. Hogwood. He has recorded, about 90 cds, also for Denon, Gaudeamus, Velut Luna, Pavane, Urania Records, Nuova Era, King, Brilliant, Tactus, Altus,e Musicaimmagine Records trademarks.

Moreover he deeply dedicates himself to the research and study of musical languages used between the 16th and the 17th century and this granted him invitations to attend conferences and conventions. With the colleagues G. Guglielmo, C. Lazari e F. Guglielmo he edited the critical edition of Tartini’s “Concerti op. 1”, and he also edited the new critical edition of the Corelli’s Concerti Grossi op. 6 (Carisch/Fondazione “Arcadia” editions of Milan).

He taught Figured Bass in the Academy “Scuola Musicale di Milano” from 1995 to 2002. He is, moreover, author of compositions for organ, chorus, chamber ensembles and orchestra and he has realized several orchestral transcriptions and instrumentation.

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