Veracini / Cozzolino- Trio Sonatas Op. 1
The only available complete recording; newly made by a stylish Italian early-music ensemble; of a landmark collection of Baroque chamber music. Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew; the composer and violinist Francesco Maria Veracini (1690-1768); and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali; Bononcini and Stradella on the one hand; and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other. Even while working outside the patronage of the Medici family; Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist; he wrote mostly with his own instrument in mind; and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded; because he also became an owner of many superb violins and a dealer in their trade. Veracini's Opus 1 collection was published in 1692 and dedicated to his patroness; the Grand Duchess Vittoria. It consists of ten 'church sonatas' of the newer sort exemplified by Vitali's op.9 collection published two years later; though Veracini's style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements; each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum; and Veracini is fond of trumpet-like fanfares and echo effects. These ten sonatas made a tremendous impression on Veracini's fellow composers at the time; and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity; especially in these recordings made by an ensemble with a track record of success in exploring the lesser-known corners of Baroque repertoire. Of their previous Brilliant Classics album featuring Vitali's Op.11 Sonatas (93976); Fanfare magazine remarked: 'It is all very delightful... thoroughly enjoyable and heartily recommended to all lovers of Baroque consort and dance music.'
The only available complete recording; newly made by a stylish Italian early-music ensemble; of a landmark collection of Baroque chamber music. Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew; the composer and violinist Francesco Maria Veracini (1690-1768); and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali; Bononcini and Stradella on the one hand; and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other. Even while working outside the patronage of the Medici family; Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist; he wrote mostly with his own instrument in mind; and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded; because he also became an owner of many superb violins and a dealer in their trade. Veracini's Opus 1 collection was published in 1692 and dedicated to his patroness; the Grand Duchess Vittoria. It consists of ten 'church sonatas' of the newer sort exemplified by Vitali's op.9 collection published two years later; though Veracini's style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements; each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum; and Veracini is fond of trumpet-like fanfares and echo effects. These ten sonatas made a tremendous impression on Veracini's fellow composers at the time; and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity; especially in these recordings made by an ensemble with a track record of success in exploring the lesser-known corners of Baroque repertoire. Of their previous Brilliant Classics album featuring Vitali's Op.11 Sonatas (93976); Fanfare magazine remarked: 'It is all very delightful... thoroughly enjoyable and heartily recommended to all lovers of Baroque consort and dance music.'