Veracini Vol. 3. Fifteen years after our first album featuring works by Francesco Veracini and two years after the release of the second such album, cpo is now releasing the third production by L'Arte dell'Arco in this series combining a complete edition of this composer's work. The first release met with an unanimously enthusiastic response: "Here everything fits perfectly; here instrumentalists perform with passion; here a very great ensemble is revealed. The team effort is fascinating; here musicians, friends, and kindred spirits are at work. CD of the Month" (Toccata). The goal of this project is to record Veracini's complete overtures and violin concertos and to combine them with a selection of his most interesting sonatas from the collection without opus number (1716) and his Opus 1 (1721). When these three groups of works are juxtaposed, Veracini's various stylistic characters come into even clearer view. The succinct tutti passages and the virtuosic élan of the violin concertos meet the festive tone of the overtures, which frequently goes over into tones of greater exuberance and greater folk character, while in the sonatas chamber flexibility is articulated in which refinement and contrapuntal erudition find even clearer expression.
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Veracini Vol. 3. Fifteen years after our first album featuring works by Francesco Veracini and two years after the release of the second such album, cpo is now releasing the third production by L'Arte dell'Arco in this series combining a complete edition of this composer's work. The first release met with an unanimously enthusiastic response: "Here everything fits perfectly; here instrumentalists perform with passion; here a very great ensemble is revealed. The team effort is fascinating; here musicians, friends, and kindred spirits are at work. CD of the Month" (Toccata). The goal of this project is to record Veracini's complete overtures and violin concertos and to combine them with a selection of his most interesting sonatas from the collection without opus number (1716) and his Opus 1 (1721). When these three groups of works are juxtaposed, Veracini's various stylistic characters come into even clearer view. The succinct tutti passages and the virtuosic élan of the violin concertos meet the festive tone of the overtures, which frequently goes over into tones of greater exuberance and greater folk character, while in the sonatas chamber flexibility is articulated in which refinement and contrapuntal erudition find even clearer expression.
