Markevitch / Lyndon-Gee / Arnhem Phil - Orchestral Music-Vol. 1 - COMPACT DISCS [CD]

The baroque salterio disappeared completely from our concert life for a long time and is only gradually being rediscovered. In 18th-century Italy, on the other hand, the instrument was widespread and especially popular among female nobles and in women's convents. One of the leading salterio virtuosos and researchers of today is the Austrian Franziska Fleischanderl. On her latest CD, she explores the salterio in Vivaldi's music. Evidence shows that during Vivaldi's time at the InchOspedale della PietàInch, the famous Venetian school for orphan girls, two salterios were purchased and later Fulgenzio Perotti was hired specifically as a teacher for the salterio. So we can assume that the virtuoso girls, who were Inchnot afraid of any instrumentInch, also interpreted the maestro's works on the salterio, even if Vivaldi did not dedicate any pieces directly to this instrument at first. Franziska Fleischanderl has searched for concerti in Vivaldi's great oeuvre that are particularly suitable for her instrument and thus demonstrates the various playing techniques of the salterio in the most virtuosic way.

Elaine Funaro - Overture to Orpheus [COMPACT DISCS] date 10/30/2001

Schubert's three Sonatas for Violin and Fortepiano, Op. 137, may nod to Mozart in their delicacy, but their spirit is firmly rooted in the early Romantic imagination. Written in 1816, they seem to inhabit the intimate world of Lieder, where song-like melodies and expressive dialogues between violin and piano take centre stage. Violinist Peter Hanson and fortepianist Andrew Arthur bring these works to life on period instruments, revealing the subtle textures and nuanced interplay that modern pianos often obscure. Hanson's phrasing echoes the expressive lyricism of Schubert's vocal writing, while Arthur's fortepiano-modelled on an early 19th-century Walther & Sohn-illuminates the sonatas' delicate, shifting colours. This recording invites us to experience Schubert's Sonatas as a cycle, as they may have been heard in a Viennese salon a journey from charm to melancholy, from innocence to reflection, all shaped by the ephemeral beauty of song.