With the tremendous popularity of the High Baroque has come a complement of more or less experimental approaches to Vivaldi, Bach, and the other giants, often falling under the historically informed performance rubric. Perhaps because his works form the locus classicus for later developments in instrumental music, Arcangelo Corelli is less often subjected to this kind of thing, but here we have a group of Corelli Concerti Grossi, along with the Sinfonia from an opera, performed by the Freiburger Barockorchester and director ...
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With the tremendous popularity of the High Baroque has come a complement of more or less experimental approaches to Vivaldi, Bach, and the other giants, often falling under the historically informed performance rubric. Perhaps because his works form the locus classicus for later developments in instrumental music, Arcangelo Corelli is less often subjected to this kind of thing, but here we have a group of Corelli Concerti Grossi, along with the Sinfonia from an opera, performed by the Freiburger Barockorchester and director Gottfried von der Goltz with added instruments not specified in the published score: oboes, a bassoon, trumpets, trombones, and a large continuo with keyboard, lute, and harp. There is some evidence that performances of these works took place, although it's not the clear-cut case that annotator Gregor Herzfeld suggests it is: if the procedure was so commonplace, you would expect it to show up in Handel's concerto grosso set modeled on Corelli, at a time when notation was becoming...
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