Pegolotti: Trattenimenti armonici da camera , Op. 1, 1698 Opera Qvinta, Fabrizio Longo, Francesco Galligioni, Domenico Cerasani, Giacomo Benedetti, Anna Clemente

• Tomaso Pegolotti (1666 - 1749): Trattenimento Primo:
• 1 Pegolotti: Trattenimento Primo 06:10
• Trattenimento Secondo:
• 2 Pegolotti: Trattenimento Secondo 06:11
• Trattenimento Terzo:
• 3 Pegolotti: Trattenimento Terzo 07:05
• La Pegolotta* | Trattenimento Quarto:
• 4 Pegolotti: La Pegolotta* | Trattenimento Quarto 06:21
• Trattenimento Quinto:
• 5 Pegolotti: Trattenimento Quinto 05:12
• Trattenimento Sesto:
• 6 Pegolotti: Trattenimento Sesto 06:07
• Trattenimento Settimo:
• 7 Pegolotti: Trattenimento Settimo 06:41
• Trattenimento Ottavo:
• 8 Pegolotti: Trattenimento Ottavo 06:33
• Trattenimento Nono:
• 9 Pegolotti: Trattenimento Nono 06:45
• Trattenimento Decimo:
• 10 Pegolotti: Trattenimento Decimo 07:05
• Trattenimento Undecimo:
• 11 Pegolotti: Trattenimento Undecimo 08:22
• Trattenimento Duodecimo:
• 12 Pegolotti: Trattenimento Duodecimo 06:54
• Total Runtime 01:19:26

Info zu Pegolotti: Trattenimenti armonici da camera , Op. 1, 1698

This album is dedicated to Tomaso Pegolotti, a character who held the double role of notary public and musician in the land of the Estense dukedom between Modena and Reggio Emilia. In fact, his father Livio initiated him into both the study of music and law, and thanks to his commitment and his talent, Tomaso had a brilliant career in both professions. The collection of the "Trattenimenti armonici da camera [...] opera prima", dedicated to Prince Foresto d'Este in 1698, includes his entire instrumental production, as the planned second work was finally never terminated due to Pegolotti's involvement in some unexpected political clash also connected to one of his judicial publications. The collection consists of twelve sonatas from which can be deduced that the author possessed considerable technical skills on the violin. The Opera Quinta ensemble led by Fabrizio Longo (former protagonist of other important productions by Tactus: tc.630201, tc.670290 and tc.621602) is a solid reference in the musical practice of early and Baroque music.

"Viewed from an authenticity standpoint, this new recording by violinist Fabrizio Longo of twelve sonatas by Italian violinist and composer Tomaso Pegolotti (1666-1749) certainly hits the mark. During the Baroque period, focus began to shift from the music itself to the musician, and the era of the "virtuoso" was born. Composers outmaneuvered each other by imposing increasingly difficult technical challenges and demands on the performers. So much so that in many cases, and to their obvious benefit, only the composers themselves could play some of these pieces.

Such is the case with Tomaso Pegolotti. "Tomaso would have to be a technically very gifted violinist, because in more than one case we run into difficulties not common in those years" {Booklet Notes}. Double stops, leaps, fast runs, delicate transitions and ornamentations are present throughout the music. All played with genuine character by Fabrizio Longo, and well supported by Francesco Galligioni (cello), Domenico Cerasani (theorbo), Giacomo Benedetti (organ) and Anna Clemente (harpsichord). The audio recording itself is a bit distant, which was probably intentional, as it well captures the brightness of the 1700s Pierre Mansuy violin, as well as the unquestionable sound of the other period instruments.

There were plenty of consequential satellites orbiting around Vivaldi, Bach and Telemann during the baroque period, and Tomaso Pegolotti, although practically absent these days, was certainly one of them. And like so many other forgotten composers of his day, he played an important role in the development of music as we know it today." (Jean-Yves Duperron)

Opera Qvinta
Fabrizio Longo, violin
Francesco Galligioni, viola da gamba, cello
Domenico Cerasani, classical guitar
Giacomo Benedetti, organ
Anna Clemente, harpsichord

Fabrizio Longo
Born in Messina, he graduated in violin with top marks under the guidance of Luigi Fusconi (from the Bologna school of Sandro Materassi and Riccardo Brengola), at the ‘Arcangelo Corelli’ Conservatory in Messina. He continued his studies with Eliodoro Sollima, Georg Mönch and Cristiano Rossi, performing as a soloist in various ensembles and making recordings of pieces for SMSP, Raidue, Raitre, Mediaset, MTV, Teatro di Messina, Radiotre, Radio Classic, IBA Israel. After completing his humanistic studies at the University of Messina and becoming passionate about philology in music, he attended courses and masterclasses on performance praxis and diminishing technique held by several renowned teachers, including, in particular, Luigi Rovighi, with whom he studied continuously at the Accademia Filarmonica in Bologna.

He has published essays, articles and critical editions on 17th and 18th century music for Di Nicolò Libri, SMSP, Walhall, Ut Orpheus, Arcana, Ambronay's and Treccani.

He plays an anonymous violin, of Cremonese attribution and in its original condition, from the second half of the 18th century.

Francesco Galligioni
obtained a Diploma in cello at the C. Pollini Conservatoire in Padua under G. Chiampan, then he then studied with Franco Maggio Ormezowski at both the Accademia Nazionale di S. Cecilia in Rome and at the A. Toscanini Foundation in Parma in the courses for soloists and orchestra leaders.

He has taken part in courses specializing in baroque cello held by W. Vestidello and G. Nasillo, and worked with famous soloists and conductors (Anner Bylsma, Giuliano Carmignola, Cecilia Bartoli, Max Emmanuel Cencic, Magdalena Kozena, Sergio Azzolini, Sara Mingardo, Victoria Mullova, Angelika Kirschlagher, Andrea Marcon, Federico Guglielmo, Sir J. E. Gardiner, Diego Fasolis, Pedro Halffter, Bob Van Asperen, Michael Radulescu, Gustav Leonhardt, Christopher Hogwood), both in concert performances and recordings.

His passion for early music led him to study viola da gamba with Paolo Biordi at the Conservatoire in Florence, where he obtained the Diploma in 2004, followed in 2007 by a first class degree with a thesis on the relationship between the arpeggione, viola da gamba and baroque cello, with a performance on this latter instrument of the famous sonata. A founding member of the Accademia di S. Rocco and later of the Venice Baroque Orchestra, he has played first cello in the foremost concert venues, including the Royal Albert Hall and Barbican Hall (London), Lincoln Center and Carnegie Hall (New York), JFK Center for Performing Arts (Washington DC), Tonhalle (Zurich), Konzerthaus (Berlin), Het Concertgebow (Amsterdam), Musikverein and Konzerthaus (Vienna), Kyoi hall (Tokyo), Opera Berlioz (Montpellier), Théâtre des Champs-Elysées (Paris), W. Disney City Hall (Los Angeles), Gran Teatro La Fenice (Venice).

He has recorded for ARCHIV (Deutsche Grammophon), Arts, ORF, Chandos, Brilliant, Naxos and Sony Classical. With this latter label he played first cello and soloist with the Venice Baroque Orchestra, as well as performing in various chamber ensembles, including in Trio with G. Carmignola and L. Kirtzof and in sonatas with A. Bylsma.

His concerts as a soloist have been broadcast by WDR, ORF, SWR2 and MDR (concerto for violin and cello by A. Vivaldi with G. Carmignola), as well as by ABC, NPR, BBC3, RDP and Japanese television while touring in Japan in September 2005.

The ensembles with which he has played lead parts include Sonatori della Gioiosa Marca, Orchestra Barocca del Friuli Venezia Giulia “G.B.Tiepolo”, I Barocchisti, Oman Consort, Arte dell’Arco, Gambe di Legno Consort, i Virtuosi delle Muse, Opera Stravagante. In 2006 he was guest cello soloist with the Gran Canaria Philharmonic Orchestra. In 2007 he taught at the Ludwigsburger Akademie summer courses, and played as soloist with the orchestra in the Salzburg Festspiele at the Musikverein Grosser Saal in Vienna, the Tonhalle in Zurich, the Victoria Hall in Geneva, the Barbican in London, the Théâtre des Champs-Elysées in Paris.

In November-December 2008, he took part in a chamber music tour with cellist Mario Brunello with concerts in Florence, Milan, Turin and Rome in Italy, and then in Japan.

In recent years Galligioni has also focused on contemporary music on period instruments, playing works by composers such as Philip Glass, Giovanni Sollima, G. Bersanetti, J. Tavener. In 2011 he was the soloist in the Vivaldi Concerto RV531 with cellist Gautier Capuchon.

His recording of the complete cello concertos by Vivaldi was recently released in a 4 CD set by Brilliant Classics, who also released his recording of Vivaldi’s six printed sonatas. A 5 CD set of Salvatore Lanzetti’s printed sonatas and dall’Abaco capricci.

Galligioni plays a cello made by Paolo Antonio Testore in 1740 and a viola da gamba dating back to the early 1700s. He has taught cello at the Conservatoires of Lecce, Reggio Calabria, Genoa and Adria, and currently teaches the same instrument at the A. Steffani Conservatoire in Castelfranco Veneto (TV), and the viola da gamba at the J. Tomadini Conservatoire in Udine.

Booklet für Pegolotti: Trattenimenti armonici da camera , Op. 1, 1698