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Sonatas 2 for 2 Violins Fan Favorite
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Sonatas 2 for 2 Violins Fan Favorite

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SKU: SK0008687-US20260105-083122 Category: Tag:
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1. Sonata No. 8 In C Major, Op. 2: I. Preludio
2. Sonata No. 8 In C Major, Op. 2: II. Allemanda
3. Sonata No. 8 In C Major, Op. 2: III. Adagio
4. Sonata No. 8 In C Major, Op. 2: IV. Gavotta
5. Sonata No. 6 In A Minor, Op. 2: I. Preludio
6. Sonata No. 6 In A Minor, Op. 2: II. Corrente
7. Sonata No. 6 In A Minor, Op. 2: III. Sarabanda
8. Sonata No. 6 In A Minor, Op. 2: IV. Gavotta
9. Sonata No. 3 In F Major, Op. 2: I. Preludio. Allemanda
10. Sonata No. 3 In F Major, Op. 2: II. Corrente
11. Sonata No. 3 In F Major, Op. 2: III. Grave
12. Sonata No. 3 In F Major, Op. 2: IV. Giga
13. Sonata No. 9 In B-Flat Major, Op. 2: I. Preludio
14. Sonata No. 9 In B-Flat Major, Op. 2: II. Allemanda
15. Sonata No. 9 In B-Flat Major, Op. 2: III. Sarabanda
16. Sonata No. 9 In B-Flat Major, Op. 2: IV. Giga
17. Sonata No. 2 In E Minor, Op. 2: I. Preludio
18. Sonata No. 2 In E Minor, Op. 2: II. Allemanda
19. Sonata No. 2 In E Minor, Op. 2: III. Corrente
20. Sonata No. 2 In E Minor, Op. 2: IV. Gavotta
21. Sonata No. 7 In B Minor, Op. 2: I. Preludio
22. Sonata No. 7 In B Minor, Op. 2: II. Allemanda
23. Sonata No. 7 In B Minor, Op. 2: III. Adagio
24. Sonata No. 7 In B Minor, Op. 2: IV. Giga
25. Sonata No. 5 In E Major, Op. 2: I. Preludio
26. Sonata No. 5 In E Major, Op. 2: II. Allemanda
27. Sonata No. 5 In E Major, Op. 2: III. Sarabanda
28. Sonata No. 5 In E Major, Op. 2: IV. Giga
29. Sonata No. 4 In A Major, Op. 2: I. Preludio
30. Sonata No. 4 In A Major, Op. 2: II. Allemanda
31. Sonata No. 4 In A Major, Op. 2: III. Corrente
32. Sonata No. 4 In A Major, Op. 2: IV. Gavotta
33. Sonata No. 1 In D Major, Op. 2: I. Preludio
34. Sonata No. 1 In D Major, Op. 2: II. Allemanda
35. Sonata No. 1 In D Major, Op. 2: III. Staccato E Adagissimo
36. Sonata No. 1 In D Major, Op. 2: IV. Giga
37. Sonata No. 10 In G Major, Op. 2: I. Ciaccona

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Francesco Antonio Bonporti (1672-1749) was a priest first and musician second: a ‘gentiluomo di Trento’ as he described himself on the title page of his Op.1 trio sonatas. Chamber music continued to be Bonporti’s preferred creative outlet, at a time when cantatas and increasingly operas obtained wider favor, and his increasingly strenuous attempts to gain royal or aristocratic preferment by dedicating and sending his works to kings, queens and princes proved ever fruitless: he died as he worked, a humble cleric. Bonporti’s gifts as a composer only began to be fully appreciated a century ago, and he can now be regarded among the most gifted north Italian composers of his generation, his music even worthy at points of being mistaken for Bach’s, as it has been more than once in confused manuscript collections. The language of Corelli lies behind Bonporti’s idiom in these trio sonatas, but his creative imagination ranged far and wide, not indebted to any local or popular idiom but always sympathetically conceived for his instruments, and for the violin in particular. The slow movements are more developed than most contemporary Italian comparisons; at all points Bonporti’s imaginative harmony and lively part-writing can be enjoyed by any listener who is keen to look beyond the tried and tested trio sonata repertoire. Founded in 2006, Associazione Labirinti Armonici is an early-music ensemble of flexible formation, led by scholarship and close study of manuscripts and critical editions in it’s revival of repertoire from the Baroque. Like Bonporti, the ensemble is based in the Trento region of Italy, making festival appearances and giving masterclasses in early music.

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