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Hyperion Records

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A Neapolitan Musical Party (c1775) by David Allan (1744-1796)
Sotheby’s Picture Library
Track(s) taken from CDA67685
Recording details: June 2007
Oratorio di S Domenico, Pisa, Italy
Produced by Sigrid Lee
Engineered by Roberto Meo
Release date: June 2008
Total duration: 20 minutes 11 seconds

'The enchantingly radiant quality of D'Orazio's playing and Lidarti's music … D'Orazio possesses just the right kind of lithe, flexible and elegant and pure sound this music cries out for, and he directs Auser Musici (familiar from an enchanting disc of Boccherini Flute Quintets) with flair, imagination and in the slow movements a moving sensitivity to line, dynamic and harmonic pacing' (International Record Review)

'The three violin concertos … would happily stand comparison with Haydn's works in the genre. Soloists Francesco D'Orazio gives fine accounts of Lidarti's technically demanding music and his cadenzas are nicely in the style of the period … all four works reveal a composer with a keen sense of dramatic melody … these are all world premiere recordings, and violinists looking for new repertoire should certainly hear it' (Early Music Today)

'Tunefulness, energy and general amiability … a true Classical period sensibility … the violin concertos are directed with verve and grace by the virtuoso soloist, Francesco D'Orazio … he is a lithe, elegant and characterful performer and his elaborate cadenzas are delightfully playful' (Goldberg)

'Christian Joseph Lidarti (1730–95) is another new name to learn and not forget again. Re-discovered for these premiere recordings by a Pisan vocal and instrumental ensemble, this is another composer to scotch the 'canon' which dominates concerts and recordings. Some 400 works of his can be found in the British Library and in a collection in Tuscany. These here are undated, but this eighteenth-century Italian composer bridges the baroque and classical periods. They are superbly realised by the consummate artistry and virtuosity of Francesco D'Orazio … an excellent first for Hyperion' (

Violin Concerto in C major 'No 1'
Library of the Paganini Conservatoire, Genoa, MS Sc.1 n.n.

Allegro maestoso  [9'56]
Adagio  [3'37]
Presto  [6'38]

As in the D minor Concerto, the first movement of the Violin Concerto in C major, Allegro maestoso, is long. For the first time, however, the structure is divided equally into two parts, as in Haydn’s model. The first theme can be defined as ‘symphonic’, with virtuoso variations for the soloist (more demanding than in Mozart’s concertos, for example); the second theme is more ‘operatic’ in character, although still with a surprising richness of technical resource, including parallel thirds and the picchiettato technique usually associated with Paganini. The soloist offers another surprise (from 4'52), in a sort of accompanied gypsy cadenza, Moderato, before the cyclical return to the first theme. The brief Adagio (for strings only) develops a series of dissonant chords in a movement rich in affetti, echoing Sturm und Drang; in the final bars Lidarti seems to evoke the painful opening of Pergolesi’s Stabat mater. The Presto is like a dynamic military march that stands between a Viennese Divertissement and an Italian comic-opera-style symphony.

from notes by Dinko Fabris © 2008

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