Plamena Nikitassova - The Violin’s Delight - A Garden of Pleasure (2017) [Hi-Res]

Tracklist
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01. Sonata Violino Solo cum Basso Continuo
02. Sonata in d-Moll für Violine und Basso Continuo: Adagio-Allegro-Adagio-Allegro-Presto-Adagio-Adagio-Alla Francese
03. Sonata in e-Moll
04. Gzyga 3 in A-Dur
05. Sonata XVII In D-Moll "Gara Di Due Violini In Uno": I. Adagio
06. Sonata XVII In D-Moll "Gara Di Due Violini In Uno": II. Viol. 1 Solo. Allegro
07. Sonata XVII In D-Moll "Gara Di Due Violini In Uno": III. Viol. 2 Solo. Prestissimo-Adagio
08. Sonata XVII In D-Moll "Gara Di Due Violini In Uno": IV. Largo
09. Sonata XVII In D-Moll "Gara Di Due Violini In Uno": V. Adagio
10. Toccata Terza in E
11. Gzyga 2 in A-Dur
12. Preludo & Passacaglia Violino Solo in g-Moll ("Schutzengel-Passacaglia")
13. Sonata Violino Solo in D-Dur: I. Adagio
14. Sonata Violino Solo in D-Dur: II. Allegro
15. Sonata Violino Solo in D-Dur: III. Adagio
16. Sonata Violino Solo in D-Dur: IV. Allegro
17. Sonata Violino Solo in D-Dur: V. Adagio

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.

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