Artist: Plamena Nikitassova
Album: The Violin’s Delight – A Garden of Pleasure
Genre: Classical
Release Date: 2017
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:10:00
Total Tracks: 17
Total Size: 1,47 GB

Tracklist:

Heinrich Lizkau (1858-1929)
1 Sonata Violino Solo cum Basso Continuo

Philipp Friedrich Böddecker (1607-1683)
2 Sonata in d-Moll für Violine und Basso Continuo: Adagio – Allegro – Adagio – Allegro – Presto – Adagio – Adagio – Alla Francese

Heinrich Döbel (1653-1693)
3 Sonata in e-Moll
4 Gzyga 3 in A-Dur

Johann Jacob Walter (1650-1717)
Sonata XVII in d-Moll “Gara di due Violini in Uno”
5 I. Adagio
6 II. Viol. 1 Solo. Allegro
7 III. Viol. 2 Solo. Prestissimo – Adagio
8 IV. Largo
9 V. Adagio

Johann Caspar Kerll (1627-1693)
10 Toccata Terza in E

Heinrich Döbel
11 Gzyga 2 in A-Dur

Heinrich Ignaz Franz Biber (1644-1704)
12 Preludo & Passacaglia Violino Solo in g-Moll (“Schutzengel-Passacaglia”)

Georg Muffat (1653-1704)
Sonata Violino Solo in D-Dur
13 I. Adagio
14 II. Allegro
15 III. Adagio
16 IV. Allegro
17 V. Adagio

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Splendidly appointed courts, such as those found in Vienna, Salzburg and Dresden, cultivated a noble art of intellectually refined entertainment, which included imitative programme pieces along with musical “bizarrities” of the sort that was especially cherished by Olomouc Prince-Bishop Karl Liechtenstein-Castelcorn, situated in the Moravian town of Kromeriz, and which he specifically requested in letters to his resident composers. The spectrum of means mobilised to this end ranged from feigned polyphony on the melodic instrument of violin achieved through double stops and the deliberate mistuning of strings to create unusual resonances (scordatura) up to experimental incursions on the boundaries of Baroque harmonics, with some pieces generating ear-provoking sound effects that would typically be ascribed to 20th century modernism. Not rooted in any desire to please, this sphere combined occult harmonic speculation with bold wit and unbridled virtuosity, evincing the instrumental style’s growing emancipation from the vocal movement framework and demonstrating how artistic skill could provide a rare opportunity for social advancement within a rigid class-based society – as astonishingly attained in the personal biographies of figures like Biber, Schmelzer, Walther and Kerll.