Veracini: Trio Sonatas, Op. 1 Semperconsort & Luigi Cozzolino

• Antonio Veracini (1659 - 1733): Trio Sonata No. 1 in D Major, Op. 1:
• 1 Veracini: Trio Sonata No. 1 in D Major, Op. 1: I. Largo 01:31
• 2 Veracini: Trio Sonata No. 1 in D Major, Op. 1: II. Vivace 02:34
• 3 Veracini: Trio Sonata No. 1 in D Major, Op. 1: III. Largo 01:23
• 4 Veracini: Trio Sonata No. 1 in D Major, Op. 1: IV. Allegro 01:03
• Trio Sonata No. 2 in B Minor, Op. 1:
• 5 Veracini: Trio Sonata No. 2 in B Minor, Op. 1: I. Largo 01:46
• 6 Veracini: Trio Sonata No. 2 in B Minor, Op. 1: II. Affettuoso 02:23
• 7 Veracini: Trio Sonata No. 2 in B Minor, Op. 1: III. Largo 01:06
• 8 Veracini: Trio Sonata No. 2 in B Minor, Op. 1: IV. Vivace 01:49
• Trio Sonata No. 3 in G Major, Op. 1:
• 9 Veracini: Trio Sonata No. 3 in G Major, Op. 1: I. Grave 01:37
• 10 Veracini: Trio Sonata No. 3 in G Major, Op. 1: II. Fuga, Vivace 01:47
• 11 Veracini: Trio Sonata No. 3 in G Major, Op. 1: III. Adagio e Staccato 01:06
• 12 Veracini: Trio Sonata No. 3 in G Major, Op. 1: IV. Vivace 01:19
• Trio Sonata No. 4 in E Minor, Op. 1:
• 13 Veracini: Trio Sonata No. 4 in E Minor, Op. 1: I. Adagio, presto, adagio, presto, adagio, Presto 01:37
• 14 Veracini: Trio Sonata No. 4 in E Minor, Op. 1: II. Vivace 01:30
• 15 Veracini: Trio Sonata No. 4 in E Minor, Op. 1: III. Canzona, Vivace 01:53
• 16 Veracini: Trio Sonata No. 4 in E Minor, Op. 1: IV. Vivace 01:16
• Trio Sonata No. 5 in C Major, Op. 1:
• 17 Veracini: Trio Sonata No. 5 in C Major, Op. 1: I. Presto, presto, Adagio 03:11
• 18 Veracini: Trio Sonata No. 5 in C Major, Op. 1: II. Vivace 01:21
• Trio Sonata No. 6 in F Major, Op. 1:
• 19 Veracini: Trio Sonata No. 6 in F Major, Op. 1: I. Largo 01:24
• 20 Veracini: Trio Sonata No. 6 in F Major, Op. 1: II. Vivace 01:52
• 21 Veracini: Trio Sonata No. 6 in F Major, Op. 1: III. Largo 01:13
• 22 Veracini: Trio Sonata No. 6 in F Major, Op. 1: IV. Vivace 01:05
• Trio Sonata No. 7 in C Minor, Op. 1:
• 23 Veracini: Trio Sonata No. 7 in C Minor, Op. 1: I. Adagio 01:22
• 24 Veracini: Trio Sonata No. 7 in C Minor, Op. 1: II. Adagio e Affettuoso 02:25
• 25 Veracini: Trio Sonata No. 7 in C Minor, Op. 1: III. Vivace 01:24
• 26 Veracini: Trio Sonata No. 7 in C Minor, Op. 1: IV. Affettuoso 01:50
• Trio Sonata No. 8 in D Minor, Op. 1:
• 27 Veracini: Trio Sonata No. 8 in D Minor, Op. 1: I. Grave 01:46
• 28 Veracini: Trio Sonata No. 8 in D Minor, Op. 1: II. Vivace 02:05
• 29 Veracini: Trio Sonata No. 8 in D Minor, Op. 1: III. Largo 01:42
• 30 Veracini: Trio Sonata No. 8 in D Minor, Op. 1: IV. Vivace 01:26
• Trio Sonata No. 9 in B-Flat Major, Op. 1:
• 31 Veracini: Trio Sonata No. 9 in B-Flat Major, Op. 1: I. Largo 01:46
• 32 Veracini: Trio Sonata No. 9 in B-Flat Major, Op. 1: II. Vivace 02:04
• 33 Veracini: Trio Sonata No. 9 in B-Flat Major, Op. 1: III. Largo 01:08
• 34 Veracini: Trio Sonata No. 9 in B-Flat Major, Op. 1: IV. Vivace 01:49
• Trio Sonata No. 10 in A Major, Op. 1:
• 35 Veracini: Trio Sonata No. 10 in A Major, Op. 1: I. Largo 01:21
• 36 Veracini: Trio Sonata No. 10 in A Major, Op. 1: II. Vivace 02:44
• 37 Veracini: Trio Sonata No. 10 in A Major, Op. 1: III. Largo 01:18
• 38 Veracini: Trio Sonata No. 10 in A Major, Op. 1: IV. Vivace 01:16
• Total Runtime 01:03:12

Info for Veracini: Trio Sonatas, Op. 1

The only available complete recording, newly made by a stylish Italian early-music ensemble, of a landmark collection of Baroque chamber music.

Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew, the composer and violinist Francesco Maria Veracini (1690-1768), and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali, Bononcini and Stradella on the one hand, and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other.

Even while working outside the patronage of the Medici family, Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist, he wrote mostly with his own instrument in mind, and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded, because he also became an owner of many superb violins and a dealer in their trade.

Veracini’s Opus 1 collection was published in 1692 and dedicated to his patroness, the Grand Duchess Vittoria. It consists of ten ‘church sonatas’ of the newer sort exemplified by Vitali's op.9 collection published two years later, though Veracini’s style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements, each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum, and Veracini is fond of trumpet-like fanfares and echo effects.

These ten sonatas made a tremendous impression on Veracini’s fellow composers at the time, and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity, especially in these recordings made by an ensemble with a track record of success in exploring the lesser-known corners of Baroque repertoire. Of their previous Brilliant Classics album featuring Vitali’s Op.11 Sonatas (93976), Fanfare magazine remarked: ‘It is all very delightful… thoroughly enjoyable and heartily recommended to all lovers of Baroque consort and dance music.’

Semperconsort
Luigi Cozzolino, violin & concertmaster

Luigi Cozzolino
graduated in Violin at the Istituto Musicale Pareggiato Mascagni in Leghorn in 1982. Afterwards he won contests for Teatro La Fenice, Venice, Teatro Regio of Turin and Teatro Comunale of Florence, where he has been playing among the Primi Violini since 1984; in 1988 he won the audition for Spalla dei secondi violini at the Orchestra di Treviso and at the Orchestra Regionale Toscana in the same role. He pursued advanced studies in Geneva with Corrado Romano and at the Corso di Perfezionamento di Musica da Camera in Città di Castello with Dino Asciolla. He has played with the most important conductors of our day, such as Claudio Abbado, Carlos Kleiber, Zubin Mehta, Lorin Maazel, Riccardo Muti, George Prêtre, Carlo Maria Giulini, Seiji Ozawa, Giuseppe Sinopoli, Myung-Wung Chung, Gustavo Dudamel.

Since 1976 his interests have been in Musica Antica; he has specialized in Violino Barocco with Gino Mangiocavallo, Enrico Gatti, Jordi Savall and Enrico Onofri and is busy with the soloist and chamber music repertory of the XVII and XVIII centuries. He has collaborated with some of the most important artists active in this repertory, such as Roger Norrington , Christopher Hogwood, Fabio Biondi, Ton Koopman, Diego Fasolis. He collaborates with various groups, such as I Barocchisti, Europa Galante, L'Accademia degli Invaghiti in Mantova. He is founder and director of Semperconsort, taking part in important festivals, such as Festival Monteverdi in Cremona, Festival Barocco in Viterbo, MITO Festival, S. Maurizio in Milan and Festival Anima Mundi in Pisa.

He is also a composer and his is the music of the CD Il trionfo di Bacco, recorded for Castellani &Arts. He has recorded for Dynamic, Tactus and Naxos, music composed by Allegri, Nardini, Zipoli, Brunelli and T.A. Vitali. From 1994 to 2003 he has been art director for the Associazione Villa di Bivigliano (FI), contributing to the organisation of hundreds of events either as an organizer or as a soloist, player of chamber music and also as pianist.

He plays on a wonderful Poggi 1965 the modern repertory, whilst the antique repertory is played with a Ferdinando Alberti 1757 and with a XVIII century Austrian violin decorated with a smart lion's head.

Booklet for Veracini: Trio Sonatas, Op. 1