The XII Solos à Violon où Traversiere avec la basse chiffrée were published by Telemann in 1734. These 12 works conform to the church sonata pattern of four movements in slow-fast-slow-fast pattern. The works are carefully written so that either violin or flute could take the solo role in any of them. The movements are varied in Telemann’s usual mixture of French, Italian, and German styles, with the occasional Polish-inspired movement thrown in for good measure.
Renaud Capuçon now has more than one string on his violin: Festival director (Les Rencontres artistiques de Bel-Air, Aix-en-Provence Easter Festival), a well-known chamber musician (he counts Hélène Grimaud, Martha Argerich, Frank Braley or Nicholas Angelich among his election partners), not to mention his brief appearance in the film of Claude Lelouch 7. 57 ap-pm. On the occasion of his 40th birthday, Warner published a CD set entitled "Le Violon Roi", which acts as a portrait of the French violinist, "an enlightened ambassador of classical music to the general public". At his side, the greatest orchestras, conductors and musicians give him the replica in these mostly well-known pieces of music.
This set includes two of the rarest and hardest to find of all recordings: the 1958-59 version of the Bach Cello Suites by Janos Starker – the one everyone says his later recordings cannot match – and the extremely beautiful performance of Bach's unaccompanied violin sonatas and partitas – the one that Japanese collectors pay 3-digit dollar prices for – in outstanding EMI Digital Re-Masterings.
If what you want is a crackerjack coupling of Tchaikovsky's Violin Concerto and his First Piano Concerto, this disc is the one to get. With the ardently noble 1971 Nathan Milstein recording of the Violin Concerto with Claudio Abbado conducting the Vienna Philharmonic joined to the recklessly passionate 1973 Martha Argerich recording of the Piano Concerto with Charles Dutoit conducting the Royal Philharmonic, both performances are easily as good as the very best ever recorded.
Despite the fact that Bach’s works for violin are relatively rare, they influenced posterity as surely as some of his very numerous keyboard pieces. The violin works in this recording also show how Bach used his great audacity and impertinence to invest everything he touched with magical properties.
…the addition of the guitar gives a languid feel that rounds off the edges and catches the peculiar flavor of Carbonelli's music, fancy, relaxed, and sweet. The close-up miking picks up a good deal of instrumental noise – listen to the music in close quarters or on headphones, and you'll find it distracting.
Jean-Joseph Cassanéa de Mondonville, although little known, was much less of a petitmaître than Boismortier or Michel Corrette, for instance. Born in 1711, he occupied quite an important place in early eighteenth-century French musical life. He was a fine violinist, a successful composer of church music and an active personality in the "Concerts Spirituels", public concerts which became established in Paris in 1725.