Chiara Cordelia

The first six sonatas, or the sonate da chiesa as they are commonly referred to, were published in Geminiani’s arrangements in 1726 and met with immediate success. Not only were the sonorities amplified by the instrumental expansion, but Corelli’s difficult-to-play sonatas were now within reach of violinists with more modest abilities. The skill with which Geminiani embellished Corelli’s music while remaining true to Corelli is immediately evident when Corelli and Geminiani are played back-to-back. It is roughly the aural equivalent of a black and white photo now viewed in color. Geminiani’s arrangements of the second set of six sonatas, the sonate da camera, were soon completed but did not meet with the same immediate popularity.

Anyone can set out to perform and record a set of compositions by a given composer. But to truly take the time to bring listeners into the world of both composer and performer, and to engage the listener with as many senses as possible, makes for a truly exceptional recording. Such is the case with this album of Tartini's Sonatas for Solo Violin with violinist Chiara Banchini and soprano Patrizia Bovi. Tartini made a habit of writing excerpts from poetry in the margins of his scores – works that he presumably read before writing to gain inspiration.

Chiara Banchini plays a sweet-toned Amati from 1651, predating Tartini (1692-1770) himself. His mercurial style seems ideally attuned to the ebb and flow of the music: largos are wistful and sad, allegros darting and fanciful with the florid ornamentation tossed off like birdsong. The carefully inflected performances of Ensemble 415 make plain the "affetti" (state of emotions) that inform Tartini's work. The Italian violin virtuoso made frequent use of poetry to inspire his composing, sometimes even recording the affecting epigram in the score.