Texte paru dans: / Appeared in:
Fanfare Magazine: 41:4 (03-04/2018) 
Pour s'abonner / Subscription information
Les abonnés à Fanfare Magazine ont accès aux archives du magazine sur internet.
Subscribers to Fanfare Magazine have access to the archives of the magazine on the net.


Channel Classics

Code-barres / Barcode : 723385392170

Reviewer:  Robert Maxham

Rachel Podger, Alison McGillivray, Daniele Caminiti, and Marcin Świątkiewicz have assembled a program of violin sonatas by four 18th-century violinist composers: Antonio Vivaldi, Giuseppe Tartini, Francesco Maria Veracini, and Johann Georg Pisendel. They open it with Vivaldi’s popular Sonata in A Major, op. 2/2 (Ottorino Respighi made a modern arrangement), bringing plenty of fancy to the opening movement. The imagined conversation between the four in the notes focuses largely on Bach and Corelli; and the ensemble’s playing of Vivaldi’s sonata makes its debt to Corelli preternaturally clear. But the sprightly Podger also exhibits its almost improvisatory manner no less frequently and no less clearly than do the continuo players. Tartini’s three-movement sonata from his op. 2 steps further away from Corelli’s models harmonically and melodically, although Tartini revered the older master to the point of writing a set of variations on a Gavotte from Corelli’s op. 5 that explored encyclopedically the contemporary art of bowing. Podger and the ensemble sound wistful in the opening movement (in this performance, more than twice as long as the final two combined), but they acquit themselves in the two later movements’ intricate passagework with energetic verve. The first of Veracini’s four movements seems cast in a dark G Minor indeed in Podger’s performance; it’s an Affekt to which the succeeding Capriccio provides a cheerful and fanciful counter. The Allegro assai, with the roulades Podger interpolates also makes a sweeping impression; and the ensemble brings the sonata to an energetic conclusion in the final Giga.

Pisendel’s Sonata in C Minor sounds even more extravagant in its expressive aspirations, opening with an Adagio that might have been conceived light years after Veracini’s sonata, although it suggests an academic working out of Corelli’s form (with a quasi-fugal second movement) more than it does any foray into an advanced galant style. Here, the contrapuntal complexities themselves command attention quite aside from the felicities of the ensemble’s performance. The weighty reading of the third movement gives way to a sprightlier one of the final Giga. Veracini’s Sonata, op. 2/12, contains both a Passagallo and a final Ciaconna. The passacaglia’s chromaticism provides opportunities for many affecting gestures, and the ensemble takes striking advantage of them. The Capriccio chromatico that separates the two ground basses also exhibits strong chromatic inflection, but the final movement (perhaps a tribute to Corelli’s La Folia), about as long as the first two movements combined, offers the ensemble a study in contrasts, vivacity alternating with more serious contemplation.

The program comes full circle with an Adagio from a sonata Vivaldi wrote for Pisendel. For the music and its exuberantly creative performances, the Brecon Baroque’s collection deserves a strong recommendation.

Sélectionnez votre pays et votre devise en accédant au site de
Presto Classical
(Bouton en haut à droite)

Pour acheter l'album
ou le télécharger

To purchase the CD
or to download it

Choose your country and curency
when reaching
Presto Classical
(Upper right corner of the page)


Cliquez l'un ou l'autre bouton pour découvrir bien d'autres critiques de CD
 Click either button for many other reviews