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Track(s) taken from CDD22061

Violin Sonata in A major, BA4

composer
sopra lo stile che suona il Prette dalla Chitarra Portoghese

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: 16 minutes 57 seconds
 
1
Allegro  [7'23]
2
Andante  [3'34]
3
Allegro  [4'48]
4
Minuetto  [1'12]

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 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

La sonate «dans le style du prêtre qui joue la guitare portugaise» (peut-être un collègue de Tartini à Padoue) se compose essentiellement de traits pour virtuose bien qu’elle soit écrite selon un motif lent-rapide-lent-rapide. La guitare portugaise s’entend probablement dans les changements et chocs harmoniques violents des premier et troisième mouvements qui rappellent la musique ibérique populaire. Dans le mouvement lent l’alternation d’arpèges improvisateurs et d’accords simples était probablement destinée à représenter la manière la plus caractéristique de jouer la guitare baroque qui intercalait passages doigtés et accords rasgueado (grattés).

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

Die Sonate „im Stil eines Priesters, der die portugiesische Gitarre spielt“ (vielleicht ein Paduaer Kollege Tartinis) besteht zum größten Teil aus virtuosen Läufen, sie verfolgt jedoch ein Langsam-Schnell-Langsam-Schema. Die portugiesische Gitarre läßt sich vermutlich in den wilden harmonischen Lagenverschiebungen und Reibungen des ersten und letzten Satzes vernehmen, die so an iberische Volksmusik erinnern. Im langsamen Satz soll die Abwechslung improvisatorischer Arpeggios und einfacher Akkorde wohl die typische Methode des barocken Gitarrespiels darstellen, das mit gegriffenen Passagen mit rasgueado (geklimperten) Akkorden durchsetzt ist.

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

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