…Both Banchini and Bovi deliver exceptionally refined performances throughout the album. Bovi's voice is pure, elegant, and perfectly suited for music of this time. Banchini's tone on the Baroque violin is, appropriately, every bit as vocal and singing as the soprano arias. Taken all together, this album is much more than an ordinary CD that is popped in the player and listened to from beginning to end, but rather, an all-encompassing experience that truly transports listeners to another place and time. Unconditionally recommended.
Born in Brescia around 1571, Giovanni Battista Fontana lived in Venice, Rome and Padua, where he died during the plague of 1630. His music surprises by the mastery of counterpoint, the simplicity and the expression of its slow movements, the complexity of its ornamentation and the elegant vivacity of its short dance sections. Nicknamed 'dal Violino' and described as "one of the most singular virtuosos the age has seen". Fontana has left us an outstanding example of early Baroque instrumental music. On this release, Daniel Cuiller leads the ensemble Stradivaria in a selection of sonatas.
Say what you will about scanty biographical material and uncertain personal links, it nevertheless seems entirely probable that Bach wrote at least some of his sonatas and partitas for violin solo after his first wife's death in 1720. In this second volume of Hélène Schmitt recordings of the works, her performance of the monumental A minor Sonata No. 2 is so passionate, so rhapsodic, and so expressive that the spirit of loss and grief fills the music like inconsolable tears.
This wild recording, the first volume of two covering all the Bach sonatas and partitas for solo violin, may well polarize listeners into attitudes of love and hate. French violinist Hélène Schmitt delivers readings of the first sonata and the first two partitas that are nowhere near the mainstream for these celebrated works, which are generally regarded as icons of Bach's intellectual accomplishment and have been subjected to all kinds of numerological analysis.
With a pattern of recording solo albums which has been positively frugal over the last 20 years, Mara Galassi marks her return on Glossa with a new and striking programme, entitled Portrait of a Lady with Harp. The ambiance into which the noted modernday harpist from Milan plunges the listener is that of the court of Queen Christina of Sweden who, on renouncing her throne, converting to Catholicism and moving to Rome in the mid 1650s embarked upon a spectacular cultural life, becoming a patron for writers, scientists and especially musicians. Among those composers active in Rome at the time were Alessandro Stradella, Bernardo Pasquini, Arcangelo Corelli and Alessandro Scarlatti, all of whom benefitted from Christina’s constant hunger for music of high quality, whether official employees at her court or not.