Album insights
Born on September 3, 1695, in Bergamo, Pietro Antonio Locatelli's early life remains shrouded in mystery. Recognized as a prodigy, he began working in Bergamo's grandest church, Santa Maria Maggiore, at the age of 15. With permission granted by the church administration in 1711, Locatelli ventured to study in Rome. While records suggest he studied under Corelli, indications rather point towards a connection with Corelli's main rival in Rome, Giuseppe Valentini. Locatelli's reputation as a virtuoso led him on tours north of the Alps in the late 1720s, eventually settling in Amsterdam in 1729, where he spent the rest of his life. In Amsterdam, he led a thriving existence as a teacher, director of an amateur orchestra, instrument and string dealer, composer, and publisher. Locatelli was known for his collaborations with publisher Michel-Charles Le Cène, releasing concertos including the renowned op. 3 Concertos, L’Arte del Violino (published by Hyperion as volume CDS44391/3) in 1733. His elegant engraved editions, including works like the twelve Sonatas for Flute, op. 2 (1732), six Trio Sonatas, op. 5 (1736), and Sonate da camera for Violin and Basso continuo, op. 6 (1737, Hyperion CDA66363), exemplify Locatelli's masterful craft.
Locatelli's association with Amsterdam began with his initial publication in 1721, featuring twelve Concerti Grossi a 4 e a 5 con 12 fughe. Notably, Locatelli's approach mirrored Corelli and Vivaldi by choosing to publish his concertos in Holland due to a decline in the Italian music publishing industry. In the late 17th century, printers in cities like Venice and Bologna faced challenges with archaic typesetting methods, prompting a shift towards copperplate-engraved collections pioneered by Estienne Roger in Amsterdam. Locatelli's opus L’Arte del Violino, often dubbed the "Paganini of the 18th century," showcases twenty-four challenging solo Capriccios, resembling Paganini's later works. While op. 1 features virtuosic passages for the first violin, it predominantly consists of concerti grossi styled on traditions established by Corelli and other Roman composers.
Maintaining the archaic instrumental music structure prevalent in the 17th century, Locatelli's concertos largely comprise four movements, with some adopting Corelli's sectional approach. However, Locatelli's op. 1 diverges from a strict imitation of Corelli's op. 6, instead embracing a fusion of conservative formats with contemporary musical language. His ability to blend tradition with innovation appealed to audiences in England and the Netherlands. Locatelli's op. 1's success led to revised editions and reprints, including Walsh's 1736 release in London, yet garnered limited recognition in 18th-century England. Despite criticism from figures like Charles Burney and Charles Avison, Locatelli's op. 1 stands out for its craftsmanship, inventive structures, and inspiring virtuosity, positioning it as a pinnacle among concerti grossi collections.