Peut-être les plus connu et les plus joué travaux de Corelli, répertoire standard de chaque violoniste, dans un arrangement pour orchestre à cordes. / Orchestre A Cordes

Victoria Maesta. Par MUFFAT GEORG. Muffat, élève de Lully et Corelli, composé son concerto 'Victoria Maesta' ('victoire triste') en 1689, organiste et musicien de chambre à la Cour de l'archevêque de Salzbourg. Le titre fait référence à la prise de Belgrade au cours de laquelle le frère de l'archevêché a été tué en 1688 - donc la pièce commence avec une marche funèbre solennel en ut mineur, dans la technique du contrepoint élaborée et artistique dans le sens de type adagio de Corelli./ Répertoire / Orchestre à Cordes

Victoria Maesta-Muffat pupil of Lully and Corelli composed his concerto ?Victoria Maesta? (?Sad Victory?) in 1689 as organist and chamber musician in the court of the archbishop of Salzburg. The title refers to the taking of Belgrad during which the archbishop?s brother was killed in 1688; therefore the piece begins with a solemn funeral march in C minor in elaborate and artistic contrapuntal technique in the sense of Corelli?s adagio type.

For the six concertos that make up the second part of the Op. 4 Locatelli prescribed eight parts: Violino Primo Secondo Alto è Violoncello Soli. Violino Primo Secondo Alto è Basso Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso to which Locatelli contributed also in his Op. 1 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled) we here encounter a group of works that are very varied in form instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify thedevelopments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.

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