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Track(s) taken from CDD22061

Violin Sonata in B flat major, BBb1

composer

The Locatelli Trio
Recording details: May 1991
St Michael's Church, Highgate, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: March 1992
Total duration: 9 minutes 7 seconds
 
1
Largo  [3'20]
2
Allegro  [2'04]
3
Affettuoso  [2'00]
4
Menuet  [1'43]

Reviews

'Elizabeth Wallfisch's technical prowess makes all these sonatas sound easy—which they are not—and leaves room for innumerabe expressive nuances. Both this and a second collection of later sonatas are discs to treasure and enjoy through many a repeated listening' (BBC Music Magazine Top 1000 CDs Guide)

'The Locatelli Trio rises brilliantly to the challenge … they convey great passion and warmth. Wallfisch is outstanding and the engineers have captured the balance perfectly' (Classic CD)

'This is without question one of the finest records of baroque music ever issued! … a revelation … enthralling and hugely important. A wonderful issue' (CDReview)
The Sonata in B flat, bBb1, is an excellent example of Tartini’s later ‘graceful and expressive manner’, with a melodious opening Largo (in the composer’s favourite siciliana rhythm), and a remarkably simple succeeding Allegro. Throughout, the double and triple stops are used not to display the virtuosity of the player (which is taken for granted), but to sketch in enough harmonies to make the expressive violin line more or less self-sufficient. We are not far removed here from the solo violin studies of the late eighteenth century, or even from the more expressive caprices of Paganini.

from notes by Peter Holman © 1992

La Sonate en si bémol bBb1 est un excellent exemple de la «manière gracieuse et expressive» tardive de Tartini, avec un Largo d’ouverture mélodieux (sur le rythme sicilien favori du compositeur) suivi d’un Allegro remarquablement simple. À travers tout le morceau les doubles et triples barrés ne servent pas à mettre en valeur la virtuosité du musicien (qui est présumée) mais à tracer suffisamment d’harmonies pour rendre la ligne expressive du violon plus ou moins indépendante. Nous ne sommes pas loin ici des études pour violon seul de la fin du dix-huitième siècle ni même des caprices plus expressifs de Paganini.

extrait des notes rédigées par Peter Holman © 1992
Français: Martine Erussard

Die Sonate in B, bBb1, ist ein ausgezeichnetes Beispiel von Tartinis späterer „anmutiger und ausdrucksvoller Art“. Sie eröffnet mit einem melodischen Largo (im vom Komponisten so geliebten sizilianischen Rhythmus), auf das ein bemerkenswert schlichtes Allegro folgt. Die hier angewandten Doppel- und Dreiergriffe dienen nicht dazu, die Virtuosität des Solisten herauszustellen (die er als selbstverständlich voraussetzte), sondern um genügend Harmonien hineinzuschreiben, damit die ausdrucksvolle Violinlinie für sich allein bestehen kann. Es ist von hier kein weiter Schritt zu den Studien für Solovioline des späten 18. Jahrhunderts oder zu den noch ausdrucksvolleren Capricen Paganinis.

aus dem Begleittext von Peter Holman © 1992
Deutsch: Anne Steeb/Bernd Müller

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