The playing on this new release from Dorian jumps out at you and grabs you by the throat; of course, the music adds to this sensation, as both Telemann (whose Corellisante sonatas give the name to this disc) and Corelli himself set the stage for the development of the violin (and other) sonatas, and jump-started the form into public awareness. Corelli’s life in Rome certainly contributed to this, with the availability of many musicians of all stripes and the time to work out his approaches based on careful experimentation. He became undisputed master of the concerto grosso and sonata forms, and his music was to continue in popularity for the next 150 years, despite the change of styles that was to occur during this period.
Telemann hit the zenith of his artistic influence around the same time these sonatas were created, ostensibly in the style of Corelli. But listening to them one is really much more taken with the style of Telemann, a man who, despite his enchanting proclivities towards imitating almost any style on the planet, infused these works with a certain autobiographical nuance that fondly waves to Corelli as though at a distance. If the truth is told, it is Telemann who steals the show on this release going head to head with the master. He proves he could mimic the Italian while adding something artful that makes the tribute even more appropriate, seeing as how Corelli was so much the path-breaker of his own time.
The performances by Jorg-Michael Schwarz and his 1991-formed ensemble Rebel are superlative in every way. This is not period performance from a cookie-cutter, but living, breathing art that dares to take period conventions and mold them to the absolute service of the music. The result is an exciting one, and the trademark Dorian clarity of sound only adds to the pleasure. If the mix appeals (and this will appeal to anyone who loves Baroque music, I promise) then don’t hesitate.
— Steven Ritter
