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Hyperion Records

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Track(s) taken from CDD22061
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: 16 minutes 57 seconds

'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)

'Performances which compel us to listen, not merely to marvel at the virtuosity' (Gramophone)

'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)

'Recommended? You bet! Get it now before the Tartini boom begins' (Fanfare, USA)

'This is without question one of the finest records of baroque music ever issued! … a revelation … enthralling and hugely important. A wonderful issue' (CDReview)

Violin Sonata in A major, BA4
composer
sopra lo stile che suona il Prette dalla Chitarra Portoghese

Allegro  [7'23]
Andante  [3'34]
Allegro  [4'48]
Minuetto  [1'12]

Introduction  EnglishFrançaisDeutsch
The Sonata ‘in the style of the priest who plays the Portuguese guitar’ (a colleague, perhaps, of Tartini at Padua) is taken up largely with virtuosic passage-work, though it is cast in the slow-fast-slow-fast pattern. The ‘Portuguese guitar’ can presumably be heard in the wild harmonic shifts and clashes of the first and third movements, reminiscent of Iberian folk music. In the slow movement the alternation of improvisatory arpeggios and simple chords is probably meant to represent the characteristic method of playing the Baroque guitar, which interspersed fingered passages with rasgueado (strummed) chords.

from notes by Peter Holman © 1992

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