Corelli Op.1 No.9 1-9 Sonata in G major Chiesa 柯雷里 三重 奏嗚曲 作品1 柯赖里コレッリトリオ・ソナタ Score Sheet 譜 乐谱【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Corelli 12 Trio Sonatas Op.1
No.9 1-9 Sonata in G major
Sonata da chiesa
柯賴里 柯雷里 12首 三重 奏嗚曲 作品1
柯赖里 柯雷里 12首 三重 奏呜曲 作品1
Corelli sonatas en trío para dos violines y violonchelo
コレッリトリオ・ソナタ 作品1
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Corelli #Trio #Sonata

00:00 I Allegro
01:34 II Allegro
03:02 III Adagio
04:28 IV Allegro

Corelli 12 Trio Sonatas Op.1
No.1 1-1 Trio Sonata in F major
No.2 1-2 Trio Sonata in E minor
No.3 1-3 Trio Sonata in A major
No.4 1-4 Trio Sonata in A minor
No.5 1-5 Trio Sonata in B-flat major
No.6 1-6 Trio Sonata in B minor
No.7 1-7 Trio Sonata in C major
No.8 1-8 Trio Sonata in C minor
No.9 1-9 Sonata in G major
No.10 1-10 Sonata in G minor
No.11 1-11 Sonata in D minor
No.12 1-12 Sonata in D major

Sonata da chiesa ("church sonata") is a 17th-century genre of musical composition for one or more melody instruments and is regarded an antecedent of later forms of 18th century instrumental music. It generally comprises four movements, typically a largo prelude followed by a fugal allegro, an expressive slow movement, and an allegro finale, although there are also many variations of this pattern.
During the 17th century, church services were increasingly accompanied by music for ensembles rather than solo organ, with canzonas and sonatas regularly substituted for the Proper during Mass and Vespers. Many of these works, however, were not written explicitly as liturgical music and were often performed as concert pieces for entertainment. The term sonata da chiesa was originally used in its literal meaning of “church music” but later came to be used figuratively to contrast this genre of composition with the sonata da camera, which literally meant “chamber music” but generally comprised a suite of dances.
The exemplary works in this form are by Arcangelo Corelli whose Op. 1 (1681) and Op. 3 (1689) each consist of 12 trio sonatas with alternating slow-fast-slow-fast movements (the first 8 of the Concerti grossi, op.6 follow this pattern as well).