EN SE DE
  • The Opera Sesta concludes dall’Abaco’s publications, which had begun in 1705 with a collection of twelve sonatas for violin and violoncello and continued, always remaining faithful to instrumental music. Although these are concertos without declaredly solo or concertante instruments, the first violin is allowed brief concertante sections, while in some of the slow movements it is allowed lyrical moments, not pathos, thanks to a writing which favours the exhibition of the refined technique of the diminution. The Vivaldi models, or more correctly the Italian models of the first half of the century, are evident: extremely fluent writing, rare use of imitative counterpoint, predominance of the melody.
    A multifaceted, but always inspired music Influences from Early Baroque to Gallant style for a various and never boring set of Concerti, Continuation of our series devoted to the complete works of Evaristo Dall’Abaco, a major figure of Italian Baroque instrumental music.