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Hyperion Records

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Leda and the Swan.
in the style of Pier Francesco Mola (1612-1666) / National Gallery, London
Track(s) taken from CDH55404
Recording details: November 2003
St Michael's Church, Highgate, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: May 2004
Total duration: 10 minutes 30 seconds

'This magnificent disc is complemented by an authoritative essay by Professor Michael Talbot. My only regret is that Hyperion has no plans to complete the set with a second volume. The quality of these performances beg for a prompt sequel' (Gramophone)

'Elizabeth Wallfisch is absolutely faultless on this excellent CD' (Early Music Review)

'Wallfisch could hardly ask for more attentively responsive support than she receives from Richard Tunnicliffe and Malcolm Proud, and she also has the inestimable advantage of a typically lucid and atmospheric Martin Compton/Julian Millard recording. Add to this an authoritative note by Vivaldi scholar Michael Talbot and Wallfisch sweeps the board in this repertoire' (International Record Review)

'The most striking feature of the violin writing is its intense lyricism and it is this that above all marks out Elizabeth Wallfisch's utterly musical and near-flawlessly executed performances … the remaining sonatas are impatiently awaited' (Goldberg)

'These three consummate players draw every nuance from Vivaldi's compositions to reveal what understated masterpieces they are' (Early Music Forum of Scotland News, Scotland)

Sonata in G minor, RV27
1708; Op 2 No 1

Giga: Allegro  [2'07]
Sarabanda: Largo  [2'21]
Corrente: Presto  [2'16]

Introduction  EnglishFrançaisDeutsch
Sonata I, in G minor, establishes right at the start the nature of the collaboration between the treble and bass parts. The first, second and fourth movements employ the contrapuntal device of imitation with an almost academic ostentation, while the third movement (Sarabanda) pursues a quite different path, bringing the cello into prominence by giving it a highly active accompanying line in regular quavers. These alternative ways of highlighting the cello – through thematic integration with the violin or through thematic independence coupled with virtuosity – are deployed throughout the set. Perhaps the most attractive movement in this sonata is the final Corrente, which apes the traditional Giga in its extravagant, almost grotesque melodic leaps.

from notes by Michael Talbot © 2004

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