Corelli's Band
Augusta McKay Lodge (violin), Doug Balliett (violone), Ezra Seltzer (baroque cello), Adam Cockerham (theorbo/baroque guitar), Elliot Figg (harpsichord)
[Lodge] Indeed, she manages a clarity and precision of tone throughout the recording that is all the more remarkable when one considers that it is coupled with a touch of warmth that prevents...
Corelli's Band
Augusta McKay Lodge (violin), Doug Balliett (violone), Ezra Seltzer (baroque cello), Adam Cockerham (theorbo/baroque guitar), Elliot Figg (harpsichord)
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[Lodge] Indeed, she manages a clarity and precision of tone throughout the recording that is all the more remarkable when one considers that it is coupled with a touch of warmth that prevents...
About
18th-century Italian violinists trained in the tradition of Arcangelo Corelli, spreading his elegant, expressive and virtuosic style on their travels throughout Europe. Giovanni Mossi’s sonatas retain Corelli’s dramatic contrasts and structure, while Giovanni Stefano Carbonelli also incorporates features found in music by Vivaldi. Both composers’ works combine formal elegance with wild abandon, lyrical charm and virtuosity alongside plenty of room for improvisation from acclaimed soloist Augusta McKay Lodge.
Contents and tracklist
- Augusta McKay Lodge (baroque violin), Doug Balliett (violone), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
- Augusta McKay Lodge (baroque violin), Ezra Seltzer (baroque cello), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
- Augusta McKay Lodge (baroque violin), Doug Balliett (violone), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
- Augusta McKay Lodge (baroque violin), Ezra Seltzer (baroque cello), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
- Augusta McKay Lodge (baroque violin), Ezra Seltzer (baroque cello), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
- Augusta McKay Lodge (baroque violin), Doug Balliett (violone), Adam Cockerham (theorbo), Elliot Figg (harpsichord)
Awards and reviews
July/August 2021
[Lodge] Indeed, she manages a clarity and precision of tone throughout the recording that is all the more remarkable when one considers that it is coupled with a touch of warmth that prevents the edginess that so often comes with the Baroque violin, especially in the highest tessitura. There is also the matter of Lodge’s technique, which is prodigious...Fast passage work...are astonishingly crisp and clear.
