Alle Lacrime... Move to tears. Whether in the most exuberant joy or the most poignant sorrow, these Italian concertos showcase the full spectrum of emotions.

When the great Arcangelo Corelli died in January 1713, he left not only the memory of an immense violin virtuoso but also a legacy that would profoundly influ­ence his successors in Italy and beyond. Georg Muffat, in a spirit of harmonious collaboration, while bringing to Germany the elegance and discipline of Lully’s French violins, became an ambassador of the Roman concerto grosso, composing pieces himself in the style of his illustrious contemporary. Muffat presents this genre as something of an orchestral evolution of the trio sonata, meaning that it shares certain formal characteristics (the distinction between the da camera genre, with its suite of dances, and the da chiesa genre, more contrapuntal and abstract) but perhaps also its spirit: chamber music “augmented” by the colors of the orchestra, allowing for all kinds of contrasts and nuances. This type of orchestration, which creates a dialogue between two groups of instruments, also finds its origins in the develop­ment of the oratorio during the 17th century and goes hand in hand with a progressive emancipation of instruments and the birth of the “orchestra,” in a sense close to that which we use it today. Corelli was probably inspired by his colleague Stradella, who seems to have been the first to propose this division into concertino and ripieno in instrumental pieces. Corelli’s twelve concerti grossi of Opus 6, published posthumously in 1714, became an absolute model of the genre for both his contemporaries and suc­cessors, thanks to their formal perfection and the compositional principles they employed.

Pietro Locatelli

Among Corelli’s heirs, the virtuoso violinist Pietro Antonio Locatelli holds a prominent place. Born in Bergamo in 1695, he displayed precocious talent for the violin and went to Rome in 1711 to study within Corelli’s circle, likely guided through the intricacies of Roman musical life by the violinist Giuseppe Valentini. There, he built a reputation among instrumentalists and was regularly involved in events under the patron­age of the Ottoboni family. In 1721, he published his first opus in Amsterdam, his XII concerti grossi opera prima, of which concertos 7 and 11 are included in this program. This first work, dedicated to Monsignor Camillo Cybo, the Pope’s steward and Locatelli’s likely patron in Rome until 1723, shares many points of continuity with Corelli’s model but also some inno­vations. While the Roman contrapuntal tradition is honored and the genres da chiesa (8 concertos) and da camera (4 concertos) are well defined, Locatelli nevertheless distinguishes himself from his illustrious predecessor, notably by adding a viola, or even two, to the traditional concertino trio of two violins and a cello. Concerto 7 in F major exploits the beauty of this prominent use of two violas and their dialogue with the two violins, particularly in the central Largo, which showcases Locatelli’s skill in a fascinating and captivating harmonic labyrinth. Finally, a lush Allegro intertwines the voices in an exuberant rhythmic complexity. In just three movements, it blends the influences of both Corelli and Vivaldi within the expanded framework of the concerto grosso.

Of a more “classical” nature, Concerto No. 11 neverthe­less distinguishes itself with its first movement, full of surprises and poignant gravity, while the following three develop a series of dances typical of the da camera genre.

The concerto “Il pianto d’Arianna,” composed in 1741, departs completely from Corelli’s model by experi­menting with the transcription for violin of elements characteristic of vocal art and falls within the lineage of other “programmatic” compositions (that is, those that tell a story or illustrate concrete elements), a genre that enjoyed considerable popularity during the century. A veritable miniature operatic scene, this piece alternates recitatives, arias, and instrumen­tal commentary in a highly original and expressive manner. Although the precise source of inspiration that fueled this composition is unknown, one can nevertheless try to guess the argument inspired by the myth of Ariadne, abandoned by Theseus on the shores of the island of Naxos. The Roman poet Catul­lus illustrated this episode of abandonment in his Poems (no. 64), a famous poem from which one can, if not draw a story, at least find scenes that fuel the imagination. Among these scenes, a possible plot emerges: the sleep in which Ariadne finds herself, which Theseus takes advantage of to leave her; his sea escape; Ariadne’s affliction and despair; the vengeful storm she longs for; and finally, an abandonment that culminates in a final major chord, like a glimmer in the Corona Borealis, a crown bestowed by Bacchus.

Charles Avison

The English composer Charles Avison, a close friend of the violinist Francesco Geminiani, “crafted” two of the works in this program concertos enlarged from pieces by other composers bearing the same then-fashionable surname: Scarlatti. 

Among his most famous pieces, his transcriptions of Domenico Scarlatti sonatas for harpsichord dem­onstrate a certain talent for reinterpretation. The Concerto No. 5 included in this recording is an adapta­tion of three sonatas (Kk. 11, Kk. 4, and Kk. 5) into the concerto grosso form. Only the first movement is an original piece composed by Avison. Nevertheless, the adaptation works wonderfully, allowing for a lively dialogue between the concertino and ripieno sections in each of the movements, chosen to correspond quite closely to the model of the concerto da chiesa.

The Concerto a sette parti, on the other hand, is the result of a double usurpation. Published in a collec­tion entitled Six Concertos in Seven Parts for two Violins and Violoncello Obligate with two Violins plus a Tenor and Thorough Bass, Composed by Sigr Alexander Scarlatti, it was long and naturally attrib­uted to Alessandro Scarlatti. However, musicologist Michael Talbot demonstrated in a 2016 article that this attribution was not so straightforward. The editor of this collection, Benjamin Cooke, had an accomplice in Charles Avison, who had simply compiled and arranged as concerti grossi sonatas a quattro by Ales­sandro Scarlatti, as well as by his brother, Francesco Scarlatti. The concerto presented here belongs to the latter’s output, arranged in the concerto grosso style by the English composer. Thus, a double attribution, to Francesco and to Avison, of a work that fueled the growing appetite in England for concerti a sette, that is, for three concertino instruments (two violins and cello) in dialogue with the four ripieno parts.

In this concerto in F major, a short orchestral prelude introduces a slow movement in which the concertino and ripieno parts converse. A fugue follows, inter­rupted only by an interlude of the first concertino in sixteenth-note figures strongly reminiscent of Corelli’s Opus 5. The last two movements, Largo and Allegro, alternate between duple and triple meter in the spirit of a gigue. One can discern in this piece elements of the new galant style as well as the Roman heritage and the Neapolitan origins of its composer.

Finally, Giuseppe Sammartini, in his Opus 2 concertos published in London in 1738, demonstrates how tradition and a certain modernity can meet in a suc­cessful synthesis. In the Concerto No. 1 included on this recording, the composer blends a highly effective French overture with purely Italian elements such as a distinctly Roman counterpoint, a tormented adagio, and a very lively and contrasting allegro. 

The works featured in this recording demonstrate the enduring vitality of a unique heritage that has nourished the inspiration of composers both on the continent and in England, each with their own style and approach. We have attempted to cap­ture this diversity and richness of expression in a more chamber-like than orchestral setting: this is evidenced by the minimal ensemble chosen, but also by a general philosophy that, rather than pit­ting concertino against ripieno in an exhausting contest, considers these dialogues as a whole with shimmering, sometimes contrasting, sometimes blended colors, all in the constant pursuit of a shared impetus.

Jonathan Nubel

Le Moment Baroque

Le Moment Baroque is an ensemble based in Neuchâtel (Switzerland) specializing in the performance of Baroque and Classical music on period instruments. It brings together professional musicians from diverse musical and geographical backgrounds, united by a shared artistic vision characterized by curiosity, passion, and high musical standards. The ensemble performs both as a chamber music group and with an orchestral ensemble.

While its initial focus was accompanying choirs in French-speaking Switzerland, it has since established itself through its productions as a major player in early music in Switzerland. Le Moment Baroque is also deeply rooted in the Neuchâtel region, where it bases its artistic output and collaborates with local cultural organizations.

They have performed in Bach’s Brandenburg Concertos in 2014, Italian concerti grossi in 2015 and 2024, Handel’s Water Music in 2016 under the direction of Stephan McLeod, with Marie Lys in a program of operatic arias by Antonio Vivaldi, and more recently in classical symphonies of the Sturm und Drang movement. Le Moment Baroque has performed at festivals such as Les Jardins Musicaux, Les Concerts de Romainmôtiers, Les Rencontres culturelles du Brassus, Les Musicales de Compesières, and Les Tribunes Baroques, as well as at Les Amplitudes and the Festival Archipels in collaboration with the Nouvel Ensemble Contemporain.

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LE MOMENT BAROQUE

Jonathan Nubel – first violin and conductor
Sandrine Feurer – Taillebois – second violin
Nada Anderwert – first viola
Céline Portat – second viola
Esther Monnat – first cello
Hélène Galatea Conrad, Regula Schwab – 1st violins
Estelle Beiner, Hernàn Linares – 2nd violins
Jean Gaudy – cello
Darija Andzakovic – double bass
Philippe Despont – harpsichord
Jonathan Rubin – theorbo

Jonathan Nubel

Jonathan Nubel initially studied Baroque violin on his own as a teenager, then with Alice Piérot and Stéphanie Pfister at the Strasbourg Conservatory, where he earned his diploma in early music. He also received guidance from Chiara Banchini and Didier Lockwood in masterclasses.

Since then, he has explored the entire repertoire for historical violin, from the Renaissance to contemporary music, under the direction of conductors such as Ton Koopman, Christophe Coin, Michel Corboz, Jérôme Cor­reas, Stephan McLeod, and Martin Gester. He is engaged on major European stages and has participated in numerous recordings and live performances as a soloist and concertmaster, both in orchestral and chamber music ensembles, notably with Les Paladins, Ensemble l’Encyclopédie, Liberati, and Gli Angeli.

He has been the artistic director and solo violinist of the Swiss ensemble Le Moment Baroque since 2014. He has given courses and masterclasses, notably in Lebanon and Poland.

He also holds a doctorate in Arts from the University of Strasbourg, where he taught Music History and was a member of several research teams.