1 No. The second is an Improvisation, where the violin is written in such a way so as to give the impression of being improvised right on the spot by the performer. The first movement is chillingly beautiful, not so much sentimental as objectively striking. 1 No. His work in the palaces of Prince Ruspoli, Cardinal Pamphili, and Cardinal Ottoboni brought him into collaboration with Arcangelo Corelli, the most influential violinist of the time. Handel returned to the violin sonata one last time, around 1750, to compose his masterpiece in the genre: the Sonata in D-Major (HWV371). The final movement starts slow, but ends with virtuosic fireworks. The collection also includes a number of sonatas which are almost certainly not by Handel. “With two excellent partners, Rachel Barton has given us an edition of Handel’s Violin Sonatas that is one of the more gratifying recordings of Baroque violin music in the current catalogs.”, “[Rachel Barton] is one of the rare mainstream performers with a total grasp of Baroque style and embellishment, and the whole disc is a delight… The exhilarating bravura of her incisive articulation and sharply pointed rhythms is matched by Barton’s singing line in her poised and elegant lyrical movements. 14; Handel: Sonata in D major for violin and continuo, HWV371, Op. The varnish is golden-brown in color. 94a Cesar Franck: Violin Sonata Faure: Violin Sonata Claude Debussy: Violin Sonata Dmitri Shostakovich: Violin Sonata Richard Strauss: Violin Sonata … Yet the style of this early sonata – virtuosic fast movements connected by a brief linking Largo – suggests that Handel had not completely absorbed the more lyrical Corellian approach to the violin and the sonata genre. It’s musical depth and craftsmanship, characteristic of Beethoven’s maturing style, makes this sonata a likely candidate to make the top-10 lists of classical music of all time. This is a relatively underappreciated part of the violin repertory since violin sonatas are considered chamber music and thus are often less showy than violin concertos. 3, Handel: Sonata in D Minor for violin and continuo, HWV359a, Op. 10 1 No. It is tempting to imagine that Handel composed HWV358 for Corelli, perhaps as an offering at one of the meetings of the Arcadian Academy. Holiday Sale | Save 20% on all CD orders using code HOLIDAY20 at checkout, John Mark Rozendaal, David Schrader. Honourable mentions include his two other sonatas for violin, the Violin Sonata No. 2. Corelli’s influence is more clearly heard in the beautiful sonatas of 1724-26, with their extended cantabile slow movements. Its style suggests it was composed previously, however, possibly early in Handel’s Italian sojourn (1706-09). As Andrew Manze remarks in the liner note for this album, the sonata was perhaps "but a toy theatre in Handel's world of architectural splendours." While in Rome, Handel received the support of the Arcadian Academy, a group of the most prestigious patrons of the arts in the eternal city. As an accompanist, harpsichordist Richard Egarr is the quintessential distant presence, a discreet but essential interlocutor in a musical dialogue in which the two voices essentially blend to create a unitary aesthetic experience. 1. With "Handel" violin sonatas, authorship is an issue, and may be of interest to some, since a few of what might be called the "non-Handel" sonatas, originally published in his name, remain in the repertoire, and are naturals for filler on discs such as this, despite their unknown origins. HWV358 survives in a manuscript that dates from Handel’s brief Hanover residence (1710). Ms. Barton Pine plays a 1617 Amati violin, in “modern” condition with steel strings. Try them out with different violinists; you will be surprised and delighted at the diverse interpretations. The violin Miss Barton plays is a particularly fine example of the makers’ work and is excellently preserved. The theatrical brilliance of the piece suggests an ear-opening prelude to a sumptuous cantata or serenata. The Amati family is responsible for the violin as we know it today. Amazon and the Amazon logo are trademarks of Amazon.com, Inc. or its affiliates. The CD opens and closes with sonatas that are authentically Handel’s and written expressly for violin: the Sonata in A Major (HWV371), notable for its virtuosic treatment of violin and continuo parts and its noble melodic lines. Handel: Sonata in A major for violin and continuo, HWV372, Op. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike. Minasi takes the view that, whether the eight pieces here are by Handel or not, they are worth playing and hearing. His third violin sonata in d minor is the only one with four movements, the other are more standard in format with three. The ribs and the original scroll are of similar stock. This demanding and lengthy work in three movements was dedicated to French violinist Rodolphe Kreutzer, although he never even played it and moreover considered it unplayable. Copyright © 2002-20 Presto Classical Limited. 1 in G Major (1878–9) and Violin Sonata No. Besides Riccardo Minasi the ensemble is formed by Marco Ceccato (cello), Giulia Nuti (harpsichord) and Luca Piancha (archlute). As a bonus extra, the ‘hidden track’ “Credete al mio dolore” (from the opera “Alcina”, arranged for violin by Riccardo Minasi) has been included. The Seal of the Lobkowicz Family on the back of the violin identifies it as one of the instruments held by this illustrious European family. On the CD, the works are sequenced for a pleasing progression of key relationships and mood changes. The top is formed from two pieces of spruce showing fine grain broadening toward the flanks. The three Brahms violin sonatas are also considered important parts of the violin repertory. The French composer wrote this piece in 1976, when he was only 31 years old. The performers on this recording have attempted to create historically informed performances using a combination of 18th-century and modern practices and equipment. However, careful study of the autograph manuscripts has allowed scholars to establish dates of composition with some accuracy. 2 Op. Ms. Barton’s violin was made in 1617 by Nicolo Amati (see note below); it is in “modern” condition, strung with steel strings. These performances are “historically informed,” employing a combination of 18th-century and modern practices and equipment. Since the musicians have a strong relation to Italy (“Musica Antiqua Roma”) and since Handel’s sonatas are very much influenced by Italien composers of the Baroque period, the artwork is based on works of the famous Italian photographer Mario Giacomelli. Here is not a definitive list of violin sonatas, but my own personal opinion: there are many amazing sonatas that you should explore, either as a listener or a performer. Bach’s Violin Partita No. Personal contact with this paragon clearly influenced Handel’s concept of writing for the violin. By George Frideric Handel. 17 Works 14 Composers 1 Genre. The violin sonatas for which Handel's authorship is undisputed are five in number. Barton lets the music’s raw, improvised feeling hang out a little, giving the recording a refreshing zest.”, “The exuberance of Barton’s ornamentation, the naturalness of her lyricism in these consummately melodic Sonatas, and her technical command in general (and of nuanced and fleet bowings and clean intonation in particular) are complemented by the skill and energy of the continuo support, which never diverts attention from the soloist’s starring role… Recommended. A number of these works (including HWV371) were published c. 1730 by John Walsh in a collection entitled Twelve Sonatas or Solo’s for the German Flute, Hautboy and Violin, and sometimes referred to as “Opus I” (six of these were for violin). If you enjoy this sonata and the others by the French composers on this list, try out the Lekeu and Poulenc violin sonatas as well. 6, Riccardo Minasi (violin), Luca Pianca (lute), Giulia Nuti (harpsichord), Marco Ceccato (cello). List Summary. The difficult work is quite progressive and characteristic of Shostakovich’s later works, featuring tone rows and many dissonant harmonies. Unfortunately, nothing is known of the occasions for which these works were created or their first performances.