Luogo e data di registrazione		Amsterdam (Holland) - Giugno 1972
	Registrazione: live / studio		studio
	Producer		Heinrich Weritz
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9589-B | 1 LP - durata 40' 54" | (p) 1973 | ANA
	Edizione CD		Teldec Classics "Frans Brüggen Edition" Vol. 2 | LC 6019 | 4509-93669-2 | 1 CD - durata 72' 43"  | (c) 1995 | ADD | (Marcello, Corelli, Veracini) Teldec Classics "Frans Brüggen Edition" Vol. 4 | LC 6019 | 4509-97466-2 | 1 CD - durata 58' 32"  | (c) 1995 | ADD | (Frescobaldi, Cima)
	Cover		Stilleben "Strumenti musicali". Gemälde von Evaristo Bsschenis (Bergamo 1617-1677)
	Note		-

Instrumental works make up only a very small part of the creative output of Frescobaldi, the last great Italian organ master of the baroque era, but nevertheless it was precisely because of his many organ and keyboard works that he achieved fame as a composer. In the book of canzonas, which appeared in three versions with the contents amended each time, we find the present wotk described as "La Bernardinia" in the second edition (1628). Frescobaldi's instrumental canzonas are so-called "variation canzonas". Several small passages contrast with one another in even and uneven time, and Frescobaldi welds them together thematically in a most artistic manner in order to effect a uniformly cohesive form. Frescobaldi's contemporary Gian Paolo Cima was musical director and organist at the "Chiesa S. Celso" in Milan. By way of ingeniously integrated chromatic passages he endowed his "Sonata in D" with a particular charm. However, his works, like those of Frescobaldi, vary considerably from the other compositions on this recording: They afford equal opportunities to the solo and bass instrumemnts i the thematic work, whereas Marcello, Corelli and Veracini clearly bring the solo instruments into the foreground and the main function of the basso continuo consists merely in providing a harmonious basis. Marcello, who composed many vocal and instrumental works, also proved himself as a writer: In his spiteful satire "Il Teatro alla moda" he pokes fun at contemporary opera with his sarcastic suggestions. In his instrumental compositions the tone idiom moves strictly within the bounds of what Padre Martini called the "stile osservato". As opposed to the vocal works, the composer secceeds in formulating the small dimension movements of the recorder sonatas adroitly and with inventiveness. Corelli's works provide a second highlight in the field of instrumental compositions. The 4th Sonata in F major originates from a collection of  "12 Sonate a Violino e Violine o Cimbalo" op. 5, which Corelli published with a dedication in Rome on 1st January, 1700. By 1720 no less than 20 reprints of the popular sonata collection appeared in Europe. In these sonatas Corelli enriches by a fifth fast movement the classical four-movement standard church sonata which he himself had founded: The first slow movement, which offers many possibilities for stylish embellishment, is followed by a fugue-type allegro and the inserted vivace. After the adagio composed in the parallel minor key a virtuose-style allegro concludes the sonata. Veracini, one of the greatest violinists of his time, presented his early work "Sonate a Violino o Flauto solo e Basso" to the Elector of Saxony Prince Friedrich August in 1718. Veracini's self-willed, personal style of composition is already evident in the A minor sonata in this collection. He gives it, also externally, a completely "non-classical" form: adagio - allegro - allegro - allegro. Elisabeth Harnoncourt English translation by Frederik A. Bishop