Thibault Noally - Baltzar, Bach: a violino solo (2013) [Hi-Res]

Tracklist

01. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: I. Prelude, Harpeggio
02. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: II. Gavotte, Allegro
03. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: III. Sarabande, Adagio
04. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: IV. Rigodon, Allegro
05. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: V. Guique, Allegro
06. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: VI. Menuetto
07. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: VII. Bourre
08. Artificious Concentus pro Camera, Partita No. 5 in G Minor for solo violin: VIII. Retirada, Allegro
09. Fantasy for solo violin in D Major, TWV 40:23
10. Suite No. 5 for solo violin in D Minor: I. Allemande
11. Suite No. 5 for solo violin in D Minor: II. Courante
12. Suite No. 5 for solo violin in D Minor: III. Sarabande
13. Suite No. 5 for solo violin in D Minor: IV. Gigue
14. Fantasy for solo violin in A Minor, TWV 40:25
15. Praeludium in C Minor
16. Allemande in G Minor
17. Fantasy for solo violin in G Major, TWV 40:15
18. Partita No. 2 for solo violin in D Minor, BWV 1004: I. Allemande
19. Partita No. 2 for solo violin in D Minor, BWV 1004: II. Corrente
20. Partita No. 2 for solo violin in D Minor, BWV 1004: III. Sarabanda
21. Partita No. 2 for solo violin in D Minor, BWV 1004: IV. Giga
22. Partita No. 2 for solo violin in D Minor, BWV 1004: V. Ciaccona
23. Fantasy for solo violin in D Major, TWV 40:17
24. Passagaglia for solo violin from “Rosenkrantz Sonaten”



Violinist Thibault Noally has enjoyed a highly successful career as a member of several acclaimed period-instrument groups including the Musiciens du Louvre and Concerto Koln. This album of German Baroque music from Aparte marks Noally's debut as a soloist. It explores the evolution of solo violin repertoire over the course of the 17th and 18th centuries through works by both well known composers (Bach, Telemann) and those who remained in the margins (Baltzar, Vilsmayr). Noally cleverly connects these works and creates a fascinating recital that sheds new light on a key period in the development of Baroque forms and techniques.

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