Biagio Marini (1597-1663) Affetti Musicali opus 1 (1617) Conserto Vago

1.Il Zontino (balletto a 3; 2 violins, cello, archlute, harpsichord)
2.Il Vendramino (balletto overo sinfonia a 3; cornet, violin, cello, archlute, harpsichord)
3.Il Monteverde (balletto alemano a 2; archlute)
4.Il Monteverde (balletto alemano a 2; violin, cello, archlute)
5.L'Albana (sinfonia breve a 2; 2 violins, archlute, harpsichord)
6.La Candela (sinfonia breve a 2; violin, cornet, archlute, harpsichord)
7.La Zorzi (sinfonia grave a 3; 2 violins, cello, archlute, harpsichord)
8.La Cornera (sinfonia a 2; violin, cornet, archlute, harpsichord)
9.La Bocca (sinfonia allegra a 3; 2 violins, cello, archlute)
10.La Martinenga (sinfonia a 2; 2 violins, archlute, harpsichord)
11.La Ponte (sonata a 2; cornet, cello, archlute)
12.La Giustiniana (sinfonia a 3; 2 violins, dulcian, harpsichord)
13.La Bemba (canzone a 2; 2 violins, archlute, harpsichord)
14.La Foscarina (sonata a 3; 2 violins, dulcian, harpsichord)
15.La Gambara (sinfonia a 3; violin, cornet, cello, archlute, harpsichord)
16.La Marina (canzone a 3; harpsichord)
17.La Marina (canzone a 3; violin, viola, cello, archlute)
18.La Zoppa (sinfonia allegra a 3; 2 violins, cello, archlute, harpsichord)
19.L'Orlandina (sinfonia a 1; cornet, cello, archlute)
20.La Gardana (sinfonia a 1; violin, harpsichord)
21.L'Aguzzona (sonata a 3; 2 violins, dulcian, harpsichord)
22.La Soranza (aria a 3; 2 violins, cello, archlute, harpsichord)
23.La Boldiera (aria a 3; 2 violins, cello, archlute)
24.Il Barizone (brando a 3; 2 violins, cello, archlute, harpsichord)
25.Il Boncio (brando a 2; violin, cello, archlute)
26.La Caotorta (gagliarda a 2; violin, cello, archlute)
27.La Martia (corrente a 3; 2 violins, cello, harpsichord)
28.La Vetrestain (corrente a 2; violin, cello, archlute)

Playing time: 63'

Бьяджо Марини - один из первых скрипачей-виртуозов эпохи барокко. Опубликовал между 1617 и 1655гг. 22 опуса инструментальной и вокальной музыки. Его сонаты для скрипки (либо корнета) и бассо континуо принадлежат к первым образцам жанра.
В сонате La Foscarina (№14) композитор использовал (правда ещё робко) новый приём игры на скрипке - tremolo

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(b Brescia, 5 Feb 1594; d Venice, 1663). Italian composer and instrumentalist. He seems to have come from an established Brescian family. An uncle, Giacinto Bondioli, was also a composer and may have been one of his teachers; there is no evidence to support the claim that he studied with G.B. Fontana, another Brescian. On 26 April 1615 Marini was appointed as a violinist at S Marco, Venice, and thus probably worked under Monteverdi. By 1620 he was back in Brescia, as maestro di cappella at S Eufemia and music director of the Accademia degli Erranti; on 30 January 1621 he was hired as an instrumentalist to the Farnese court at Parma. Between 1623 and 1649 he served, part of the time as Kapellmeister, at the Wittelsbach court at Neuburg an die Donau, but he was also away for extended periods, in Brussels (in 1624), Milan (1631–2), Bergamo (1632), Düsseldorf (in 1640 and 1644–5), Brescia and possibly Venice. He was again in Milan in 1649, as maestro di cappella at S Maria della Scala, and worked in Ferrara and Venice in 1651–3. By 1654 he was once again in Milan and then in Vicenza during 1655–6. Three marriages are documented; a document from 1641 mentions five children. The atto di morte recording his death cites his age as about 76 years (reproduced in Fano, 1973).
All of Marini’s extant music is in printed form. At least seven volumes are lost, others are incomplete, and there is a curious time-lag of several years between the dedications and publication of opp.7–9. Marini’s vocal music spans many of the vocal genres of the time, including the strophic air, monody, and large-scale concertato madrigal with instruments. Op.2 (1618) is notable for the first appearance in print of a lettera amorosa (Monteverdi’s well-known examples appeared in 1619). The publication of opp.13 and 16, in the 1640s, marked the culmination of his work with the secular concertato madrigal: op.16 was especially indebted to Monteverdi's Madrigali guerrieri ed amorosi. In the 1650s, Marini seems to have focussed his attention on sacred music, here too exploiting the concertato style. As in his final volume of instrumental music, tonal direction is strongest in these late works.

It is as a composer of instrumental music, however, that Marini is best known. His op.1 (1617) contains sinfonias, sonatas, canzonas and dances, all for one or two violins and continuo. Stylistic distinctions between sonatas and longer sinfonias are not always clear. The sinfonias La Ponte and La Gardana, and the sonata La Orlandina, all for one violin with continuo, are the first datable examples of an extended solo piece for violin (or cornett) in which the continuo part is truly accompanimental. Two sonatas, La Foscarina and La Agguzzona, both for two violins and continuo, are the most substantial works in the collection; they are divided into several broad sections. The term tremolo con l'arco in La Foscarina is the first specific request for this effect, and slurring indications appear in both sonatas; both features point to the establishment of a string idiom.

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