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Concerten voor viool - Verschenen op 24 januari 2020 | Fuga Libera

Hi-Res Booklet Onderscheidingen Diapason d'or
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Concerten voor viool - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Concerten voor viool - Verschenen op 28 september 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731.Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà.Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Chouchane Siranossian is a rising star of the baroque and classical violin, Jakob Lehmann a virtuoso violinist and orchestral director who frequently conducts Anima Eterna. Together, they embody what the Bruges orchestra and its founder, Jos van Immerseel, have decided to call the ‘Next Generation Anima Eterna’... Today they are presenting Mendelssohn’s Violin Concerto in its original version. “We wanted to take a look into Mendelssohn’s workshop. He struggled with his self-diagnosed ‘revision disease’ and always strove to work hard on himself and his creations” says Jakob Lehmann. Chouchane Siranossian keeps on : “It was a fascinating experience for me to discover historical research and its implementation on period instruments in collaboration with Anima Eterna Brugge. In my interpretation, I used exclusively the fingerings, bowings and other performance markings of Ferdinand David and Joseph Joachim, both of whom rehearsed the work with the composer.” This recording is rounded off with the Octet, also in its original version, which is longer and has many alterations in instrumentation, harmony and articulation... © Alpha Classics
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Concerten voor viool - Verschenen op 21 april 2017 | Orchid Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Editor's Choice - Le Choix de France Musique
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Concerten voor viool - Verschenen op 15 oktober 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 4 étoiles Classica
1720: in his famous pamphlet entitled ‘Fashionable Theatre’, the composer Marcello ironized the excesses of the new Venetian opera. This landmark pamphlet was published anonymously as Benedetto Marcello, under the fictional editorship of ‘Aldaviva Licante’ - undoubtedly an anagram of A. Vivaldi – ridiculing the operatic world of the time. It took on singers puffed up with pride, uneducated librettists, composers seeking dramatic effects, in short, everything that the musical world then thought about as original, unusual, new, experimental, shocking, weird, baroque, and, in a word, Italian! Vivaldi was one of Marcello’s favourite targets, continually lampooning the Red Priest and his virtuoso violin escapades. It is precisely these escapades that the violinist Amandine Beyer and the Gli Incogniti ensemble have chosen for their rich repertoire: detuned violin concertos (in the manner of Scordatura), violin ‘in tromba’, that is to say violin in a tone that betrays a scraped sound, not to mention more singular works in which Vivaldi leaves the soloist a freedom that gives real heart to the joy of improvisation. This is what really marks out Amandine Beyer, who performs in accordance with the habits of the composer, giving a clear, historical picture of her treatment of the ornaments. So, for the almost implausible Circus Maximus track, it is as if you were actually there, attending the Carnival of the year 1720! © SM/Qobuz
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Concerten voor viool - Verschenen op 24 februari 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
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Concerten voor viool - Verschenen op 14 september 2004 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concerten voor viool - Verschenen op 11 december 2010 | Aparté

Hi-Res Booklet Onderscheidingen Hi-Res Audio