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Marco Uccellini (circa 1603-1680): Sinfonia Nona à tre violini from Sinfonici concerti brevi e facili, Opus 9 (1667)
0:00 Opening
0:18 Sinfonia Nona
5:19 Credits
YuEun Gemma Kim, violin • Cynthia Keiko Black, violin • Elizabeth Blumenstock, violin • Corey Jamason, harpsichord
Eddie Frank, video • Chris Landen, audio
American Bach Soloists • Jeffrey Thomas, Artistic Director
Filmed in March 2021 in the Mondavi Center for the Performing Arts (Davis, California).
How we made the video: americanbach.org/Videos-Backs...
Marco Uccellini, like Buonamente, was also a violinist as well as a composer. It is likely that he studied under Buonamente in Assisi at the Basilica of Saint Francis. Following in his teacher’s footsteps, he enjoyed a series of appointments, first in Modena where he was well rewarded for his talents, receiving almost eight times the salary of other violinists at the Este court. And it was through the support of the Este family that he found his subsequent position in Parma, where he composed opera and ballet, none of which has survived. Uccellini’s Sinfonia Nona a tre violini, like his other sonatas for violin(s) and continuo, represents the style that would become an idiomatic standard of the early Italian Baroque. This particular sonata is unusually highly structured. In fact, it is in the “binary” form of A-A-B-B wherein the first half is repeated in its entirety, before the second half follows suit, and each of those halves are themselves composed in two contrasting sections.
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