Violin Concertos - Released April 27, 2018 | Berlin Classics

Hi-Res Booklet Distinctions 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz

Violin Concertos - Released April 13, 2018 | Ondine

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional sound - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz

Chamber Music - Released January 19, 2018 | NoMadMusic

Hi-Res Booklet Distinctions 5 étoiles de Classica

Chamber Music - Released July 7, 2017 | Delphian

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz

Classical - Released December 2, 2013 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Exceptional sound - Hi-Res Audio

Chamber Music - Released October 29, 2015 | ARTIES RECORDS

Hi-Res Booklet Distinctions 4 étoiles de Classica

Violin Concertos - Released February 3, 2015 | Haenssler Classic

Hi-Res Booklet Distinctions 4 étoiles de Classica - 5 Sterne Fono Forum Klassik