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Track(s) taken from CDA67685

Violin Concerto in D minor 'No 2'

Library of the Paganini Conservatoire, Genoa; MS T.C.3.3

Francesco D'Orazio (violin), Auser Musici
Recording details: June 2007
Oratorio di S Domenico, Pisa, Italy
Produced by Sigrid Lee
Engineered by Roberto Meo
Release date: June 2008
Total duration: 14 minutes 0 seconds

Cover artwork: A Neapolitan Musical Party (c1775) by David Allan (1744-1796)
Sotheby’s Picture Library


'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' (MusicalPointers.co.uk)
The Violin Concerto in D minor begins with a substantial opening movement, Allegro; the addition of wind instruments gives the concerto a timbre that has the flavour of an opera seria. The solo violin’s entry, with its relentless virtuoso difficulties, returns us firmly to concerto territory, the bravura violin-writing being fit for contemporary virtuosos such as Tartini. This movement is based on a single theme, with variations. The Adagio in F major (without horns) is just 23 bars long, a gentle episode that introduces an elegant theme reminiscent of Johann Adolf Hasse. The third movement, Tempo di minuetto, is like a ballet in galant style, but full of chords that anticipate the later Sturm und Drang period. The violin-writing is superbly idiomatic, and sometimes seems to allude to the atmosphere of a Vivaldian concerto alla rustica.

from notes by Dinko Fabris © 2008

Ce concerto commence par un long premier temps de 206 mesures où l’adjonction des instruments à vent fournit le timbre de fond qui le rend semblable à une symphonie de Opera Seria, et ce également grâce aux fréquentes accumulations d’accords typiques de l’époque de Mozart. Les difficultés techniques du violon solo qui au fur et à mesure augmentent, reportent le concert à sa dimension pour violon en culminant dans le final à travers des virtuosités dignes de Tartini. Nous sommes également dans ce cas en présence d’un thème unique avec variations. (ii) Adagio en fa majeur (sans cors): en seulement 23 mesures ce tendre épisode parvient à introduire un thème doux à la façon de Hasse avec une forte inspiration galante. (iii) Tempo de minuetto (190 mesures): une véritable danse nostalgique de l’époque galante mais dense d’accords qui préparent à des émotions Sturm und Drang. L’écriture est parfaitement idiomatique pour le violon qui à certains moments semble citer les atmosphères vivaldiennes des «concerts champêtres».

extrait des notes rédigées par Dinko Fabris © 2008
Français: Céline Mongason

Das Violinkonzert in d-Moll beginnt mit einen beachtlichen Kopfsatz, Allegro; der Zusatz von Blasinstrumenten gibt dem Konzert ein Timbre, das die Welt der Opera seria anklingen lässt. Der Einsatz der Solovioline mit unerbittlich virtuosem Schwierigkeitsgrad versetzt uns ganz in das Revier des Konzerts zurück; die Violinschreibweise ist auf solch zeitgenössische Virtuosen wie Tartini zugeschnitten. Dieser Satz beruht auf einem einzigen Thema mit Variationen. Das Adagio in F-Dur (ohne Hörner) ist nur 23 Takte lang, eine zarte Episode, die ein elegantes Thema einführt, das an Johann Adolph Hasse erinnert. Der dritte Satz, Tempo di minuetto ist wie ein Ballett im galanten Stil, steckt aber voller Akkorde, die auf die spätere Sturm-und-Drang-Periode vorausweisen. Die Violinschreibweise ist überragend idiomatisch und scheint gelegentlich auf die Atmosphäre eines Vivaldischen Concerto alla rustica anzuspielen.

aus dem Begleittext von Dinko Fabris © 2008
Deutsch: Renate Wendel

Concerto in re minore: (i) Allegro: all’opposto del precedente questo concerto comincia con un lungo I tempo di 206 battute, in cui l’aggiunta dei fiati fornisce lo sfondo timbrico che lo rende simile ad una sinfonia da opera seria, anche per i frequenti addensamenti accordali tipici dell’età di Mozart. A riportare il concerto alla sua dimensione violinistica è il continuo avanzare delle difficoltà tecniche del violino solo, che nel finale offre un campionario di virtuosismi degno di Tartini. Anche in questo caso abbiamo un unico tema con variazioni. (ii) Adagio in fa maggiore (senza corni): in sole 23 battute questo morbido episodio riesce a introdurre un tema dolce alla Hasse con forte sapore galante. (iii) Tempo di minuetto (190 battute): una vera e propria danza nostalgica dell’età galante ma densa di accordi che preparano emozioni Sturm und Drang. La scrittura è perfettamente idiomatica per il violino, che in alcuni punti sembra citare le atmosfere vivaldiane da «concerto campestre».

Dinko Fabris © 2008

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