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Chamber Music - Released May 17, 2019 | Glossa

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In the course of his illustrious career, Fabio Biondi has nurtured a remarkable empathy with Italian music from across many centuries, but strikingly so with the early Baroque violin sonata repertory, the development of which was dramatically propelled into the future by Arcangelo Corelli with his Op 5 collection. It is this empathy possessed by Biondi which has inspired the Accademia Nazionale di Santa Cecilia in Rome (from its bowed instrument collection) to make him a loan of the precious 1690 “Tuscan” violin made by Antonio Stradivari, for this Glossa recording. Another skill possessed by Biondi is his deft assemblage of programmes, whether for concert or for recordings, and this new release of early eighteenthcentury violin works touches on the impact that Corelli’s music had on music-making in Dresden, Venice, Padua, London and Amsterdam, to name just a few of the destinations affected as the fame of “Arcangelo Bolognese” fanned out from Rome across Europe. With a continuo team from his Europa Galante ensemble (Antonio Fantinuoli, cello, Giangiacomo Pinardi, theorbo and Paola Poncet, harpsichord), Biondi plays sonatas by Vivaldi, Corelli, Geminiani, Tartini and Locatelli, and a Ciaccona by Veracini. Recorded in Rome, on an instrument which was originally made for the Florentine court of Ferdinando de’ Medici (and which, over time, has survived all manner of vicissitudes on its journey to Rome!), Fabio Biondi expertly captures the flavour of the eighteenth-century violin sonata. © Glossa
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Classical - Released January 25, 2019 | Brilliant Classics

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Classical - Released November 18, 2013 | Sony Classical

Classical - Released April 17, 2008 | Brilliant Classics

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Classical - Released January 1, 2009 | Denon

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Classical - Released March 26, 2013 | BIS

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Chamber Music - Released September 21, 2018 | Ricercar

Hi-Res Booklet Distinctions 5 étoiles de Classica
The Russian violinist Evgeny Sviridov, winner of the MA Festival Bruges Competition in 2017, has chosen to devote his first recording to the sonatas of Giuseppe Tartini. As heir to the Baroque tradition of the early eighteenth century, Tartini developed technical concepts much bolder than those of his predecessors, thus preparing the violin for the language of the Classical period. His treatise served as a model for Leopold Mozart and his reputation was still very much alive in the Romantic era, which continued to propagate the famous anecdote of his dream during which the Devil suggested to him how to perform reputedly impossible trills... © Ricercar
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Chamber Music - Released September 15, 2017 | Tactus

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Classical - Released May 1, 2006 | BIS

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Classical - Released August 2, 2019 | Toccata Classics

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In the last years of his life, the composer, violinist and swordsman Giuseppe Tartini (1692–1770) laboured at a vast cycle of sonatas for solo violin. The resulting manuscript offers the most important composition for solo violin after Bach and, at six hours in duration, the largest integrated work for the instrument. This first complete recording is based on a fresh study of the source and includes a number of works deciphered from Tartini’s shorthand and overlooked in earlier editions. These ‘Little Sonatas’ tread a delicate line between Baroque formality and proto-Romantic passion, occasionally illuminated with an echo of the folk-fiddling of his Slovenian homeland. © Toccata Classics
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Classical - Released October 1, 2012 | Tactus

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Classical - Released July 1, 2013 | Tactus

Concertos - Released May 26, 2015 | Dynamic

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Classical - Released October 1, 2012 | Tactus

Classical - Released September 26, 2006 | Tactus

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Classical - Released October 11, 2018 | Rivoalto

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Concertos - Released January 1, 1994 | Dynamic

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Concertos - Released January 2, 2007 | Tactus

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Classical - Released May 14, 1991 | Naxos

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