Corelli's last four concerti grossi are in the concerto da camera form, meaning a series of dance pieces rather than the abstract movements of the concerto da chiesa format. The good-natured Concerto No. 11 starts with a Preludio, which begins gently and tentatively, its introductory phrases separated by long pauses. This hardly prepares the listener for the launch of the Allemanda, its frantic bass line giving forceful propulsion to a melody that is itself fairly relaxed, despite its strongly marked rhythm. A very brief chordal Adagio leads to an Andante Largo reminiscent of the Preludio; again, the active bass line brings movement to the long-lined melody. The Sarabanda is slow and graceful, rather tender, but not at all melancholy, and seems almost the more reticent sibling to the similar but more exuberant concluding Giga.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.