Francesco Geminiani: The Complete Sonatas Op. 1

Born in Lucca, in Tuscany, Geminiani studied with Lonati in Milan and then in Rome under the celebrated Arcangelo Corelli. It’s also possible that he studied composition with Alessandro Scarlatti whilst staying in Naples. He took up the position as Leader of the Opera Orchestra in Naples at the age of 24 and by this time he had become recognised as a talented violin virtuoso.

In 1714 he tried his fortune in England, where his brilliant violin playing immediately met with great success. London had, at that time, become  a major European music centre, thanks in part to Handel, who had himself studied in Rome under Corelli and thus brought a measure of Italian musical style with him. Geminiani gained much support from the aristocracy and leading figures at the Royal Court, and was invited to play the violin before George I, accompanied at the harpsichord by no less than Handel.

Geminiani’s Violin Sonatas Opus 1 were published privately in London in 1716 under the main title Sonate a violino, violone e cembalo. This version as well as the extensively revised second version re-appearing in 1739 with corrections and numerous new embellishments,  has much that relates it to Corelli’s 12 Sonatas Opus 5.

Geminiani’s first six sonatas clearly represent the sonata da chiesa type and the last six equally clearly that of the sonata da camera, just as in Corelli’s set of twelve. The Sonatas appeared yet again in a third incarnation in 1757. Whereas the first two versions shared the same forces, violin and basso continuo, the third version presents them in the form of trio sonatas, for two violins and basso continuo. With the trio versions which Geminiani revised and, in some instances, practically re-composed in this version, we are pretty far removed from the original sonatas of more than forty years ago.

The London Handel Players have performed a number of these sonatas over the last ten years and have cleverly selected examples from all three published versions, including re-arrangements of the Sonatas by the composer himself (Sonatas Nos. 4, 6 and 7 are re-arranged for solo harpsichord). We have also included examples of re-arrangements of the Op. 1 Sonatas by other composers, including Francesco Barsanti (Sonatas Nos. 10 and 11 re-arranged for 2 violins & basso continuo),and Pietro Chaboud (Sonata No. 10 arranged for flute and basso continuo) and a beautiful arrangement of Sonata No. 7 by an unknown musician,  arranged for treble recorder and basso continuo.

We hope that this premiere complete recording of Geminiani’s Op. 1 Sonatas will bring his delightful music to a wider audience, 250 years after his death.