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Bizzarie Universali

European Community Baroque Orchestra

William Corbett

SKU: 1391

Year of release: 1990

Alla Milanese 06:33
1. allegro William Corbett 03:04
2. largo William Corbett 00:41
3. allegro assai William Corbett 02:48
Alla Genouese 06:10
4. allegro William Corbett 03:26
5. largo William Corbett 00:35
6. allegro William Corbett 02:09
Alla Todesca 08:12
7. largo andante William Corbett 04:24
8. allegro spiritoso William Corbett 02:05
9. minuet William Corbett 01:42
Alla Spagniola 05:18
10. andante puntato William Corbett 01:36
11. gavot allegro William Corbett 00:53
12. largo e staccato William Corbett 00:29
13. allegro tempo di minueto William Corbett 02:18
Alla romana 07:14
14. largo William Corbett 02:19
15. allegro William Corbett 03:33
16. allegro William Corbett 01:22
Alla Siciliana 08:18
17. allegro William Corbett 02:51
18. andante William Corbett 03:14
19. allegro William Corbett 02:13
Alla Paduana 05:29
20. allegro assai William Corbett 02:09
21. largo William Corbett 00:32
22. allegro assai William Corbett 02:47
Alla Turinese 06:16
23. largo William Corbett 02:18
24. allegro spiritoso William Corbett 02:05
25. aria allegro ma non presto William Corbett 01:51
Al' Irelandese 07:24
26. largo cantabile William Corbett 03:43
27. allegro William Corbett 01:22
28. allegro spirirtoso William Corbett 02:18
Total time: 60:58

About this album

William Corbett William Corbett (c. 1675-1748) was one of England’s first and most individual composers of concertos. By profession he was a violinist, and between 1705 and 1711 led the orchestra at the new Queen’s Theatre in the Ilaymarket, London. He was also in demand as a soloist, often receiving top billing at London benefit concerts, and appearing as far afield as Nottingham (1707 and 1709) and York (17(19). Corbett appears to have been something of a ,s/iounian, and his concert programmes and compositions often made a feature of the unusual. In 1699 and 1704-7, for instance, his concerts often included such unfamiliar instruments as the mandolin, archlute and viola d’amore, and in 1724 he advertised a concert on a part un/ar new instrument never heard in England’. Between 1711 arid c. 1740 Corhett lived intermittently in Italy, returning occasionally to publish music and perform in concerts, such as those he organised with a Signora Lody in London until 1715. Although nominally attached to the royal orchestra in London, from 1716 he seems to have settled more permanently in Rome, where he built up an extensive collection of music and violins (some said to have belonged to Corelli and Torelli) and other musical instruments. So impressive was this collection and such was his material well-being, that it was speculated whether Corhett augmented his income acting as as/s’ for the English government, keeping an eye on the Pretender to the English throne (James Stewart, son of the deposed Catholic James II) who had settled in Rome. Whatever the truth of such suspicions, Corbett certainly made money from the sale of some of his music and instruments in London in 1724 and shortly after his return to England in 1741.

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