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Classical - Released September 7, 2018 | Alpha

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released September 20, 2019 | Berlin Classics

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Capricious, gleefully extravagant and no respecter of rules, Francesco Geminiani was a virtuoso violinist and a talented composer. He was also an art dealer, a collector, a painter, writer and musicologist in the early days of the discipline. In his day, this hurried and agitated man (two characteristics that can be found in the vivacity of his music) had a reputation and influence every bit as powerful as that of Corelli or Handel, which time has unfairly erased.The magnificent Concerto Köln ensemble wanted to address this lack by lending all its lustre to Geminiani's music, choosing its quintessence ("Quinta essentia") for this splendid album. A great traveller, Geminiani journeyed all over Europe, spending a fairly long time in Paris before establishing himself for good in London, where he played violin concertos with Handel at court. The story is told of the theft of one of his manuscripts by a servant during a stay in Dublin, which provoked his death at the age of 74 a (more than) respectable age for the time.He left behind many sonatas and concertos grossos in the style of Corelli, which were very much in fashion in the England of the time. His own style would, however, make its mark, and many composers would keep his memory through the use of multiple arrangements, such as his student Charles Avison. The thirty-three pages of this recording give a perfect illustration of the versatility of this essential baroque composer. © François Hudry/Qobuz
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Classical - Released February 26, 2002 | Glossa

« While Geminiani’s fame as a violinist and composer remains undimmed‚ his fame as a guitarist is almost forgotten‚ and his reputation as a harpsichordist has rested on his didactic works though‚ as this recording indicates‚ he must have been a very accomplished performer. His lack of interest in opera and melodrama in a country where these were keys to fame and fortune may have led him to emigrate to London in 1714. There he had considerable success in the concert halls. It was his intellectual drive‚ rather than his performing fingers‚ that prompted him to rework some of his Sonatas Op 4 for violin and thoroughbass as the Pièces de Clavecin (1743). The predominant influence is announced in the French­language titles and emphasised by the warm sound of Fabio Bonizzoni’s Pascal Taskin instrument of 1788. […] Bonizzoni’s sure­fingered and stylish performances and superb recording make this a rewarding issue.» (Gramophone)
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Classical - Released April 10, 2008 | Alpha

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Classical - Released April 8, 2014 | Outhere - Rewind

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Concertos - Released January 10, 2006 | harmonia mundi

Andrew Manze is not only a superb violinist -- check out his Biber sonatas -- but also a superb music director. Since taking over the calcified old Academy of Ancient Music and bringing the group with him to Harmonia Mundi, he has produced a stunning series of recordings: a couple of Vivaldi discs, a wonderful set of Handel's Opus 6 concertos, a sublime disc of the Bach concertos. Now they have released Geminiani's Concerto Grossi after Corelli's Op. 5, and it is their best yet. Geminiani did not simply transcribe Corelli's trio sonatas, he expanded them into works of his own. In effect the works become cheerful Geminiani instead of dour Corelli. The Academy plays brilliantly and, more important, with guts. Gone is the mincing and crimping of the Hogwood years; this year's model digs deep into catgut strings that produce rich and varied sonorities. One feels that the results must be due to Manze's directorial influence, because the Academy never sounded like this before him. Furthermore, Manze demonstrates why he is held to be one of the great masters of the period violin: the Corelli duo sonata for violin and cello ornamented by Geminiani offers plenty of daredevil stunts which he pulls off with daring and audacity. A breathtaking recording, highly recommended. © TiVo
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Classical - Released June 2, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
 Geminiani’s The Art of Playing on the Violin, op. 9 (published in English in 1751) give us a very precious glimpse of what was musical practice in the first half of the 18th century, then considerably in the grip of the Italian influence. The publication began with some 28 exercises, aimed at perfecting technical skills such as double stops, special bowing, arpeggios, chords, ornamentation, shakes, swelling and softening, staccato, scales galore etc., and finished with twelve “examples”, “twelve pieces in different styles for violin and cello with basso continuo for the harpsichord”. What he meant by different styles are dances (courante: no. IV, gavotte: no. VIII, gigue: no. XI), fugues in the style of Corelli’s sonatas (nos. I, II, VII; while nos. IX-XI could be considered a full-fledged sonata da chiesa) as well as slow pieces in the “pathetic” style. These last, full of affectation, are particularly evocative of opera arias. Violonist Gottfried von der Goltz plays these twelve examples using several ornamentation techniques as pinpointed by the composer himself in the exercises – according to the liner notes, this would even be a recording premiere, and quite astonishingly it seems this is really the case. The interpreter begins the recording with a free improvisation, like a kind of offhand praeludium, reminding us that Geminiani was known amongst his student as Il Furibondo. So as not to wary the listener, the recording makes use of various continuo combinations, what with harpsichord, theorbo or organ. Von der Goltz completes the album with two of the Twelve Sonatas op. 4 for violin and basso continuo, composed 1739, two pieces which stylistically make the link between the Italian style (Corelli, Vivaldi) and the French (Leclair, Boismortier), several years before the Quarrel of the Buffoons broke out – that moronic Parisian controversy concerning the relative merits of French and Italian music in general, opera in particular. © SM/Qobuz
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Classical - Released January 1, 1977 | Decca Music Group Ltd.

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Classical - Released March 8, 2012 | Stradivarius

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Chamber Music - Released August 10, 2015 | Stradivarius

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Classical - Released January 1, 1991 | Ricercar

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Classical - Released January 1, 2007 | CPO

German Baroque violinist Anton Steck, a protégé of Reinhard Goebel, has the right look for Geminiani: stylish, rather foppish rather mysterious, with long hair. Geminiani was a true virtuoso, a student of Corelli who, along with numerous other Italian musicians, moved to prosperous London in the early decades of the eighteenth century. He authored an influential treatise on violin technique, but he was a free spirit who never quite mastered the knack of cultivating either aristocratic patronage or the favor of new concert-going audiences; in later years he preferred to make a living as an art dealer. By the mid-century his style was old-fashioned; the music here has little of the ingratiating galant quality, and it's all about technique. The Op. 5 sonatas, here presented in transcriptions for violin and continuo from the original versions for cello, are brilliant works, with technique deployed in service of a glib elegance rather than sheer flash. Each sonata has four movements, and the slow movements are mostly very short -- just breathing spaces. The heart of the action is in the outer Allegros, where simple lines are festooned with a huge variety of ornaments that, despite the works' publication for Geminiani's audiences, would have been way out of reach of average players. Steck takes Geminiani's Allegro movements at something like a Presto clip, executing the thornier passages with flair and with a kind of implied effortlessness that one imagines as close to the image Geminiani himself presented in concert. The continuo accompaniment consists of cello and harpsichord, which one might think would compete too much with Steck's playing. Actually, it's just right; the sonatas are not about heroic exertions but about sparkling utterances, and the fuller continuo sound fits the carefully controlled dimensions of Steck's playing. The real violinistic fireworks come in the Sonata for Violin Solo in B flat major, and neither is Steck flummoxed by these. One hopes for more Italian Baroque recordings from this fine performer, for this one looks like a standard. © TiVo
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Chamber Music - Released April 1, 2006 | Brilliant Classics

Distinctions 4 étoiles du Monde de la Musique
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Classical - Released January 1, 1994 | Decca Music Group Ltd.

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Classical - Released September 1, 1984 | Solstice

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Classical - Released January 1, 1996 | Vox Box

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Classical - Released January 27, 2017 | Stradivarius

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Classical - Released October 12, 2003 | LucasRecords

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Classical - Released January 1, 1993 | Decca Music Group Ltd.

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Classical - Released August 21, 1998 | Naxos

Booklet