Bizzarie Universali

8,9924,99

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SKU: 1391 Category:

Tracklist

1.
Alla Milanese - allegro
00:00
2.
Alla Milanese - largo
00:42
3.
Alla Milanese - allegro assai
00:00
4.
Alla Genouese - allegro
02:06
5.
Alla Genouese - largo
00:35
6.
Alla Genouese - allegro
01:29
7.
Alla Todesca - largo andante
00:00
8.
Alla Todesca - allegro spiritoso
01:25
9.
Alla Todesca - minuet
01:03
10.
Alla Spagniola - andante puntato
00:00
11.
Alla Spagniola - gavot allegro
00:54
12.
Alla Spagniola - largo e staccato
00:30
13.
Alla Spagniola - allegro tempo di minueto
01:39
14.
Alla romana - largo
01:39
15.
Alla romana - allegro
02:13
16.
Alla romana - allegro
00:00
17.
Alla Siciliana - allegro
00:00
18.
Alla Siciliana - andante
00:00
19.
Alla Siciliana - allegro
01:33
20.
Alla Paduana - allegro assai
01:29
21.
Alla Paduana - largo
00:33
22.
Alla Paduana - allegro assai
00:00
23.
Alla Turinese - largo
01:38
24.
Alla Turinese - allegro spiritoso
01:26
25.
Alla Turinese - aria allegro ma non presto
01:12
26.
Al' Irelandese - largo cantabile
02:24
27.
Al' Irelandese - allegro
00:00
28.
Al' Irelandese - allegro spirirtoso
01:38

Description

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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