Various Artists - Violin Concertos / Various - COMPACT DISCS [CD]

The romance in music is an often-overlooked, independent genre. Vocal romanzas were popular from the 15th century onwards, with their roots in the songs of medieval troubadours. Many slow concerto movements carry the subtitle, too, with it's implication of softness, gentleness and melodic beauty. But more and more composers through the 19th century grasped the possibilities of the Romance as an instrumental song without words and a form in it's own right. They had before them a growing audience of non-connoisseur listeners and amateur performers who would take delight in accessible but touching music these are the origins of the music on this album. From an extensive field, Davide Alogna has constructed a beautifully varied sequence of Romances by celebrated and lesser-known composers. The two best examples of the genre remain those composed on the cusp of the 19th century by Beethoven, though they are little heard in concert these days. Seventy years later, Saint-Saëns enriched the repertoire with his own pair of Romances, more richly expressive compared to Beethoven's delicacy and restraint. From later still the mood changes again, with the fresh Slavonic rhythms of Dvorák's F minor Romance, the cool beauty of Svendsen's G major Romance and the ripe sentimentality of Bruch's F major Romance (originally for viola and orchestra). Having completed his studies at the Accademia Chigiana of Siena, Davide Alogna was acclaimed by his teacher Giuliano Carmignola as 'an amazing talent'. A previous recording was praised for it's virtuosity and brilliance by the Italian Musica magazine, and his partnership with the veteran pianist Bruno Canino has delighted audiences throughout Europe. Album Tracks 1. Romanze NR. 2 F-Dur Op. 50 (FÜR Violine Und Orchester) 2. Romanze NR. 1 G-Dur Op. 40 (FÜR Violine Und Orchester) 3. Romanze C-Dur Op. 48 (FÜR Violine Und Orchester) 4.

Album Tracks 1. Sonata in F minor, Op. 80 2. Sonata in D, Op. 94A 3. Violin Concerto No. 2 in G minor, Op. 63

As the forerunner of the piano and violin concertos, the concerto grosso is all about give and take. Not only one against many but also one, two or three musicians conversing with each other and with a larger ensemble in a genre that celebrates intimacy, diversity and virtuosity. The form inspired collections of instrumental masterpieces by the greatest names of the Baroque era, and it's an ideal environment for the relaxed mastery of Seldom Sene. Ever since the ensemble's debut in 2014 (Taracea, 94871), it has continued to fulfill imaginative recording projects with the same 'commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display' (Gramophone) in that first album. In their booklet notes, Stephanie Brandt of Seldom Sene and Matthias Havinga explain that the challenge of arranging this repertoire was to create a wide variety of sound colors through the intelligent use of different types of recorders and the stops of harpsichord and organ. The Sixth Brandenburg Concerto of Bach is an obvious candidate for Seldom Sene's performance, having originally been written for a similarly homogeneous ensemble of lower strings. In Handel's lovely Organ Concerto Op.4 No.1 Havinga retains the solo part while the recorder quintet plays the role of orchestra and basso continuo. The roles are reversed in Vivaldi's Concerto Grosso Op.3 No.10, where the harpsichord accompanies the recorders' flights of fancy. There is also an originally scored rarity the Sonata for five winds and organ by the Italian-born Viennese court composer Antonio Bertali. Album Tracks 1. Concerto Grosso Op. 3 No. 10 RV 580 2. Concerto BWV975 3. Concerto Grosso Op.3 No. 2 HWV313 4. Brandenburg Concerto No. 6 BWV1051 5. Canzon À 5 Voc. Super O Nachbar Roland 6. Sonata. a 5 Flauta. (Et Organo) 7. Organ Concerto Op. 4 No. 1 HWV289