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American Record Guide: (09-10/2020) 
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CPO 5552200



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Francesco Veracini (1690-1768) lived in the era of Albinoni, Vivaldi, Tartini, and Locatelli—quite a substantial group of composers—and it was the era of the violinist composer. Along comes violinist Federico Guglielmo, who founded L'Arte dell'Arco in 1994, a period ensemble dedicated to the music of the Venetian Republic. Judging from the five performances on this album, they sure know how to have a terrific time playing such repertoire. I also had a grand time listening to it. Their tone quality is different from any other group I've heard; it's bright rather than bass oriented: three first violins, two second violins, two violas, one cello, one violone, three continuo players, plus two oboes and a bassoon. Woodwinds have their own unique timbre, and the theorbo, guitar, and harpsichord supply just enough "jangle box" presence to give added character to Veracini's individuality and personality. Their instruments are pitched a hair shy of a half step below 440, but they're perfectly tuned, free of any of the sourness of "the bad old days". In fact, they sound so "normal" that it took me 35 minutes to realize that violinist Guglielmo plays without vibrato, so expressive and nuanced is he. On the whole, they play with crisp articulation, keen rhythms, and alertness, but are controlled without panache or extravagance. Overtures 1 and 3, both in B flat, are more like Bach's orchestral suites. Each is 12 minutes with 5 movements: a slow fast slow fast overture followed by four dances (sarabands, minuets, gigs). The sound, perfectly balanced and transparent, though drier rather than resonant, conveys the group's high energy. The two sonatas, 1 in G (16 minutes) and 5 in C (10 minutes) have a similar mix of four or five moments. Guglielmo is soloist. The Violin Concerto in D is only 6 minutes long, with the movements marked Allegro, Grave, and Presto.

The full ensemble plays in the overtures,only strings in the concerto, and soloist without continuo in the sonatas. These works and performances give Veracini a place of his own beyond that large pool of baroque composers who have been forgotten for good reason. This would make a fine gift for the baroque enthusiast who thinks he has everything.

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