Skip to contentGo to Product Search
Roseville
1643 County Road B2Roseville, MN 55113Opens at 10 am
Find Another Store
Main Content

Jacopo Di Tonno - Italian Cello Sonatas - COMPACT DISCS [CD]

SKU: 10652648

Reviews coming soon

Sold & shipped by

About this product

The origins of the cello as a solo instrument, and of the kind of solo repertoire compiled in the present set, lie in the gradual emancipation of the cello from it's function as a primarily supportive, accompanying bass. This process began in the second half of the 17th century, firstly in Naples, and then farther afield across the Italian provinces and principalities. Yet the cello would remain an unequal peer of the violin, expressively aswell as technically, through the course of the 18th century, with low-string virtuosity centred instead on the increasingly obsolete viola da gamba (Marin Marais in Paris and then Carl Friedrich Abel in London). By the time of the 'Ottocento' (19th century), opera was the dominant force in Italian musical culture, with bel canto composers such as Rossini and Donizetti creating a public appetite for opera that eclipsed achievements by Italy's musical sons in other genres. Some of these composers who focused their energies instead on instrumental music, swimming against the operatic tide, remained in their native land, while others found a home (or were forced to find one) abroad. Giuseppe Martucci (1856-1909) is one who stayed. A gifted pianist, he bypassed the operatic path and wrote music with a kind of fluent synthesis of Italian lyricism and German, dialectic approach to form that reached an early peak in his Cello Sonata of 1880. Yet Martucci, as a teacher of composition in Bologna and then Naples, urged the teenaged Alfredo Casella (1883-1947) to study abroad. Casella's father was a cellist and his mother a pianist. Several other close relatives were cellists, and his godfather was Alfredo Piatti. It makes sense therefore that, returning from his studies in Paris with Gabriel Faure, he would unite cello and piano with a thorough grasp of their contrasting idioms. Ildebrando Pizzetti (1880-1968) is among the few composers in th

Specifications

  • Genre
    Classical
    Description
    The origins of the cello as a solo instrument, and of the kind of solo repertoire compiled in the present set, lie in the gradual emancipation of the cello from it's function as a primarily supportive, accompanying bass. This process began in the second half of the 17th century, firstly in Naples, and then farther afield across the Italian provinces and principalities. Yet the cello would remain an unequal peer of the violin, expressively aswell as technically, through the course of the 18th century, with low-string virtuosity centred instead on the increasingly obsolete viola da gamba (Marin Marais in Paris and then Carl Friedrich Abel in London). By the time of the 'Ottocento' (19th century), opera was the dominant force in Italian musical culture, with bel canto composers such as Rossini and Donizetti creating a public appetite for opera that eclipsed achievements by Italy's musical sons in other genres. Some of these composers who focused their energies instead on instrumental music, swimming against the operatic tide, remained in their native land, while others found a home (or were forced to find one) abroad. Giuseppe Martucci (1856-1909) is one who stayed. A gifted pianist, he bypassed the operatic path and wrote music with a kind of fluent synthesis of Italian lyricism and German, dialectic approach to form that reached an early peak in his Cello Sonata of 1880. Yet Martucci, as a teacher of composition in Bologna and then Naples, urged the teenaged Alfredo Casella (1883-1947) to study abroad. Casella's father was a cellist and his mother a pianist. Several other close relatives were cellists, and his godfather was Alfredo Piatti. It makes sense therefore that, returning from his studies in Paris with Gabriel Faure, he would unite cello and piano with a thorough grasp of their contrasting idioms. Ildebrando Pizzetti (1880-1968) is among the few composers in th
    Artist
    Jacopo Di Tonno
    Title
    Italian Cello Sonatas
    Format
    CD
    Label
    Brilliant Classics
Sponsored

Reviews

This product doesn't have any reviews yet.

Compare similar products

Jacopo Di Tonno - Italian Cello Sonatas - COMPACT DISCS [CD]
Jacopo Di Tonno - Italian Cello Sonatas - COMPACT DISCS [CD]
Not Yet Reviewed

The origins of the cello as a solo instrument, and of the kind of solo repertoire compiled in the present set, lie in the gradual emancipation of the cello from it's function as a primarily supportive, accompanying bass. This process began in the second half of the 17th century, firstly in Naples, and then farther afield across the Italian provinces and principalities. Yet the cello would remain an unequal peer of the violin, expressively aswell as technically, through the course of the 18th century, with low-string virtuosity centred instead on the increasingly obsolete viola da gamba (Marin Marais in Paris and then Carl Friedrich Abel in London). By the time of the 'Ottocento' (19th century), opera was the dominant force in Italian musical culture, with bel canto composers such as Rossini and Donizetti creating a public appetite for opera that eclipsed achievements by Italy's musical sons in other genres. Some of these composers who focused their energies instead on instrumental music, swimming against the operatic tide, remained in their native land, while others found a home (or were forced to find one) abroad. Giuseppe Martucci (1856-1909) is one who stayed. A gifted pianist, he bypassed the operatic path and wrote music with a kind of fluent synthesis of Italian lyricism and German, dialectic approach to form that reached an early peak in his Cello Sonata of 1880. Yet Martucci, as a teacher of composition in Bologna and then Naples, urged the teenaged Alfredo Casella (1883-1947) to study abroad. Casella's father was a cellist and his mother a pianist. Several other close relatives were cellists, and his godfather was Alfredo Piatti. It makes sense therefore that, returning from his studies in Paris with Gabriel Faure, he would unite cello and piano with a thorough grasp of their contrasting idioms. Ildebrando Pizzetti (1880-1968) is among the few composers in th

Sonatas For Cello And Piano - Sonatas for Cello and Piano - COMPACT DISCS [CD]
Sonatas For Cello And Piano - Sonatas for Cello and Piano - COMPACT DISCS [CD]
Not Yet Reviewed

Album Tracks 1. Sonata in C Major, Op. 102, No. 1 2. Sonata in D Major, Op. 102, No. 2 3. Sonata in a Major, Op. 69 4. Sonata in F Major, Op.5, No.1 5. Sonata in G minor, Op.5, No.2 6. 12 Variations in G Major on See Here the Conqu'ring Hero Comes, from Handel's Judas MacCabaeus, Woo 45 7. 12 Variations on Ein Mädchen Oder Weibchen, from Mozart's the Magic Flute, Op.66 8. 7 Variations on the Duet Bei Männern, Welche Liebe Fühlen, from Mozart's the Magic Flute, Woo 46

Ensemble Il Continuo Gusberti - Sonatas For Cello - COMPACT DISCS [CD]
Ensemble Il Continuo Gusberti - Sonatas For Cello - COMPACT DISCS [CD]
Not Yet Reviewed

The artists write of this new InchPassionei conceived this bundle of cello sonatas with the noble aim of amusement and as it is for us to enjoy his rhetoric and gain more knowledge from it. He published the sonatas to enrich the cello repertoire, as did we through our recording. We wanted to give a sincere contribution to the genius of Passionei and to our history as artists. Therefore we chose only eight of the twelve Sonatas in which we think to have achieved the composer's compositional vision as result of a serious research about the cello practice.Inch

Ronco Vozza - Cello Sonatas 1 & 2 - COMPACT DISCS [CD]
Ronco Vozza - Cello Sonatas 1 & 2 - COMPACT DISCS [CD]
Not Yet Reviewed

This is the first recording dedicated to J.B. Janson, virtuoso, composer and teacher of the second half of the 18th Century. Together with the Duport brothers, he was the major representative of the French cellist school, and in the year of the foundation of the Paris Conservatory he became it's first professor. Unjustly forgotten by history, his first compositions represent in an exemplary way the turning point of European musical taste from the Style Galant to Classicism. In these first two works, the wealth of technical innovations, as well as the narrative and visionary energy of musical inventions, lead us to think that the perfect alchemy arisen from the encounter of a brilliant and infinitely curious mind, which certainly was Berteau's, with the miracle of a child prodigy, ended up in an unfulfilled promise, a broken dream that dissolved into oblivion. Thus the famous Jansons will be forgotten, while the fame of the Duports lingers in the historical memory up to our days. Album Tracks 1. Six Sonates a Violoncelle Et Basse Op. 1 (Paris, 1765) 2. Sonata No. 1 in D Major 3. Sonata No. 2 in G Major 4. Sonata No. 3 in C Major 5. Sonata No. 4 in B-Flat Major 6. Sonata No. 5 in a Major 7. Sonata No. 6 in D Major 8. Six Sonates a Violoncelle Op. 2 (Paris, 1768) 9. Sonata No. 1 in C Major 10. Sonata No. 2 in D minor 11. Sonata No. 3 in D Major 12. Sonata No. 4 in B-Flat Major 13. Sonata No. 5 in a Major 14. Sonata No. 6 in G Major

Specs

Be the first to ask a question.

We’ll try to get your question answered within 24 hours by a Best Buy customer or brand representative.

Ask a question
No content
Sponsored
Sponsored
Sponsored