Johann Stamitz’s six Violin Sonatas op. 6 were first published following his death - which is hardly surprising, for who besides the composer himself would then have been able to meet their breakneck violinistic challenges? Stamitz was famous for his absolutely incredible finger dexterity, a reputation that this father of the German violin school continues to enjoy even today. Stephan Schardt not only has taken up this challenge but also delights and surprises the listener with an album brimming with perfect beauty and offering more than mere virtuosic stunts.
Mitzi Meyerson likes to come up with surprising musical finds or rediscoveries and her latest, the Opera Prima of Giovanni Battista Somis, is as fascinating as her recordings devoted to Richard Jones and Gottlieb Muffat. Indeed, the harpsichordist chanced upon the score for this set of Baroque violin sonatas – first published in 1717 – when investigating the music of Richard Jones in the British Library, finding thereby another trove of forgotten Baroque gems. Somis worked for the Dukes of Savoy, initially in Turin, in the early 18th century, but studied with Corelli in Rome, later befriended Vivaldi, and himself taught many subsequent prominent violinists, including Jean-Marie Leclair.
RecArt presents a new album with chamber music for violin and piano of a distinguished Polish composer Mieczyslaw Weinberg - 20th century creator compared by musicologists to Dimitri Shostakovich and Sergei Prokofiev. Artist whose tragic fate intertwined with the history of the Second World War and Jewish persecution. In recording participated Ewelina Nowicka - violin and Milena Antoniewicz - piano
Arcangelo Corelli's remarkable reputation, established during his lifetime and maintained ever since, is based almost exclusively on his six published collections of works: the Trio Sonatas, Opp.1-4, the Concerti grossi, Op.6, and the twelve violin sonatas recorded here. Born in 1653 into a family of prosperous landowners, and trained as a violinist in Bologna, by his mid-twenties Corelli was in Rome and there rose rapidly to the peak of his profession. As both performer and composer he was renowned as a perfectionist, a fact reflected in both the size of his output and the polish with which it was prepared for publication.