12 Fantasias

1. In A Major

2. In a minor

3. In b minor

4. In Bb Major

5. In C Major

6. In d minor

7. In D Major

8. In e minor

9. In E Major

10. In f# minor

11. In G Major

12. In g minor

Product Description

Sigurd M. Rascher, Legendary Saxophonist - Pioneer of the Saxophone
"I recommend Styliani"

Product Description:
Telemann's 12 Fantasias performed on soprano saxophone keeping the the rules of the style of the late-baroque and to the beauty of its melodies. You would never guess this is a saxophone!

Customer Reviews:

Wonderful articulation is her hallmark.......2007-07-09

The collection is spectacular. Larrocha's nimble fingers and clear articulation make it a joy to listen to her interpretations of Mozart. The very familiar "A la turca" is given a lighthearted yet sensitive interpretation that makes it a great listening experience. This is definitely a set to own.

Amazing performances of amazing music!.......2006-09-27

I can't compare this to other Mozart Sonata cycles, but after looking hard at which set to purchase, I bought these and have been extremely pleased. I have not noticed any recording problems with the 2nd and 3rd disks, but I am no expert. I think the whole set sounds wonderful! And you cannot beat the price. I just wish she had a complete cycle of Mozart's Piano Concerti available!

Good Performance, bad recording.......2004-09-14

The performance of Laroccha is exceptional, the trills are fantastic and some of the sonatas are almost perfect. The whole compilation sounds very mozartian and may disturb some people that are used into more sweet and passion performances. However the recording of the 2nd and 3rd CD is terrible, it sounds like there is echo in the recording and it becomes very annoying and fuzzy. The key of a good mozart recording is brightness and music purity, which definately this compilation lacks.
Brendel's mozart sonatas sound better for me, however he has not recorded all of them in a single complilation such as this.

Devoted collection by a mature virtuoso........2004-02-07

Listen to Alicia de Larrocha performing the exposition of the first movement of Mozart's Piano Sonata in Bb major, K. 333--my favorite of the great composer's sonata; the absolute pinnacle of Classical beauty. You will hear a consummate artist devoted to the detail and refinement of this glorious music. Collected here in 5 CDs are the complete Mozart Sonatas and a few minor works to fill out the discs. I don't believe in the concept of a 'definitive' performance or recording-especially for a body of work as extensive and diverse as this, and so would never claim such a title for this or any performance-but de Larrocha's set is definitely worth having. She takes a refined, subtle approach, never exaggerating or turning Mozart into a Romantic, but always emphasizing the Classical sense of balance. Even in as "romantic" a work as the Presto of the Sonata in A minor K. 310, she plays expressively and emotionally, but within a Classical aesthetic, always exercising great control and touch. Dynamics and tempi are varied, certainly, but within a more discrete range than some of our more flamboyant pianists. This, for me, is the charm of de Larrocha's approach-perhaps, for some listeners, its downfall. Here's where the concept of definitive recordings fails completely. Do we try to listen to Mozart in an historical context, as he himself might have heard it, or do we take a Postmodern approach? Having lived after the Romantic period and even the Twentieth Century now, do we perform and prefer Mozart played on an instrument he never knew, allowing innovations of interpretation developed after his death to shape a new vision of his works? Both are possible, and in today's world, where Bond and Maksim pass unremarked as Classical musicians to my great disgust, mass audiences give no favor to historical context. De Larrocha clearly prefers the informed, appropriate approach, although she plays on a modern grand piano, and the music glows under her loving hands. Listen, for example, to the lovely Adagio from K. 280, one of Mozart's earlier sonatas.

Customer Reviews:

The "Clinker" of the bunch.......2006-12-19

Having collected the entire "The Masterworks" series (including the Bach and Mozart Complete Works) this set is the 'clinker' of the bunch. First off... 6 CD's of Lieder 'historic' (pre-historic) recordings. No Overtures, No Orchestral Seranades, No Haydn Variations?? The performances of the Symphonies and the Concertos are shakey and not very well recorded. Brilliant Classics, who has done such a wonderful job with the Hadyn Complete Symphonies (licensed from Nimbus), the Mozart and Bach Complete sets, has stumbled a bit with this release.

Telemann: Twelve Fantasias for Violin Solo; Gulliver Suite for Two Violins

Average customer rating:

Depth Music
Dissapointing performance
Four Gut Strings, Unaccompanied
scraping the surface
A Catalog of Riches

Telemann: Twelve Fantasias for Violin Solo; Gulliver Suite for Two Violins

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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Pandolfi: Complete Violin Sonatas
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Violin Sonatas Op 5
Handel - Complete Violin Sonatas / Manze, Egarr

ASIN: B0000007EP
Release Date: 1996-02-09

Tracks:

Fantasia 1 in B flat
Fantasia 2 in G
Fantasia 3 in F-minor
Fantasia 4 in D
Fantasia 5 in A
Fantasia 6 in E minor
Fantasia 7 in E-flat
Fantasia 8 in E
Fantasia 9 in B minor
Fantasia 10 in D
Fantasia 11 in F
Fantasia 12 in A minor
Gulliver Suite : I Intrada
Gulliver Suite : II Chaconne of the Lilliputians
Gulliver Suite : III Gigue of the Brobdingngians
Gulliver Suite : IV Daydreams of the Laputians and their attendant flappers
Gulliver Suite : V Loure of the well-mannered Houyhnhnms & Wild dance of the untamed Yahoos

Amazon.com

Telemann's musical imagination and inventiveness are astonishing. He is in the Guinness Book of World Records as the most prolific composer in history (over 7,000 pieces!). Yet even when he turned pieces out by the dozen, as he did here, each one had its own character and individual ideas. Andrew Manze plays each one stylishly, although I would no more recommend listening to all of them together than I would advise hearing all of Bach's music for solo violin. Try a few at a time. The little Gulliver Suite, which brings the timing up to 78 minutes, is a charmer. --Leslie Gerber

Customer Reviews:

Depth Music.......2007-07-23

If you ever listenned telemann's tafelmusik, I believe you would know what I mean. In past experenice, telemann was often argued lack of depth, and was famous of easygoing music, at least comparied with Bach. However, telemann fantasias had been changed my image, it is a depth music, especial heard other his music. I don't think its value is lower than Bach uncompanied solo violin music.
Of course maybe it's Manze's technique give me this feeling, but finally, I could say I must reknow telemann and it's Manze's contribution. I recommand it to all.

Dissapointing performance.......2007-03-29

This smart and beautiful music for solo violin deserves a better performance. I don't like the weak projection and the
very tiny sound of Manze. Occasionaly there are too wide volume differences between the tracks. Clearly Manze has admirers. I am not one of them.

Four Gut Strings, Unaccompanied.......2006-07-11

These fantasias for unaccompanied violin by Telemann are solidly in the tradition of German polyphonic/chordal solo string music (for example, the Bach violin Sonatas and Partitas). Often in such music one's interest is held by the sheer textural legerdemain of composer and performer - the marvel of one ostensibly monophonic instrument creating the illusion of multiple voices. There is a whole baroque cosmos contained in these little pieces, a grand tour of baroque affects and styles from learned to GALANT: graceful sicilianas alternate with austere SONATA DA CHIESA-like movements, and quasi-fugal pieces are followed fast on the heels by gauche country-fiddle dances. Andrew Manze, the baroque violin superstar of our time, finds miles of expressiveness and wit in what seems on the page to be plain and conventional baroque rhetoric. His playing is sparkling and nimble. His astounding technique is married to a beautiful CANTABILE tone, a bold sense of fantasy and humor, and a sure feeling for the structure, timing, and placement of the tiny movements that make up the fantasias. This is an extravaganza not to be missed by any fans of baroque violin playing.

scraping the surface.......2005-12-22

Andrew Manze's playing, hailed by petty music critics all over the world as witty and brilliant, blah blah blah, certainly falls flat here. Yes, he's got chops, and he's made it his admirable quest to record everything under the sun, but these beatiful and fun (yes, fun!) Fantasias are rich with rhetorical sentiment, and Manze breezes mechanically and monotonously. If you're a Manze fan already, of course you're going to love this CD. You'll also love it if you have no idea what "rhetorical sentiment" is. However, if you know anything about early music or prefer other things to eat besides vanilla pudding, you may not want to waste your money. I wish one day we could live in a world where recording companies record good music, not just flashy names.

A Catalog of Riches.......2001-11-07

Telemann's 12 Fantasias for solo violin (1735) are intriguingly elusive. Their brief movements offer a whirlwind tour of European manners and styles. The player's resources are laid bare -- no overarching formal design (this isn't Bach), and few openings for virtuosic display.

Andrew Manze is a star of the period-instrument set. Lightning reflexes (and wits) and improvisatory flair are his strengths -- precisely what this music demands. His playing is a catalog of riches. Compare two concluding allegros -- No. 4, with its bustling near-orchestral accompaniment sharply set against the melody, and No. 11, all fantastic lightness. Or the Italianate curves of No. 6's graceful Siciliana. Caroline Balding seconds Manze impeccably in the encore, a playful suite inspired by "Gulliver's Travels."

Tracks:

Sonata No. 1 In C Major, K.279: I. Allegro
Sonata No. 1 In C Major, K.279: II. Andante
Sonata No. 1 In C Major, K.279: III. Allegro
Sonata No. 2 In F Major, K.280: I. Allegro Assai
Sonata No. 2 In F Major, K.280: II. Adagio
Sonata No. 2 In F Major, K.280: III. Presto
Sonata No. 3 In B Flat Major, K.281: I. Allegro
Sonata No. 3 In B Flat Major, K.281: II. Andante Amoroso
Sonata No. 3 In B Flat Major, K.281: III. Rondeau. Allegro
Sonata No. 4 In E Flat Major, K.282: I. Adagio
Sonata No. 4 In E Flat Major, K.282: II. Menuetto I - Menuetto II
Sonata No. 4 In E Flat Major, K.282: III. Allegro
Sonata No. 5 In G Major, K.283: I. Allegro
Sonata No. 5 In G Major, K.283: II. Andante
Sonata No. 5 In G Major, K.283: III. Presto
Sonata No. 6 In D Major, K.284: I. Allegro
Sonata No. 6 In D Major, K.284: II. Rondeau en Polonaise. Andante
Sonata No. 6 In D Major, K.284: III. Theme. Andante - Variationen I - XII

Tracks:

Sonata No. 7 In C Major, K.309: I. Allegro Con Spirito
Sonata No. 7 In C Major, K.309: II. Andante Un Poco Adagio
Sonata No. 7 In C Major, K.309: III. Rondeau. Allegretto Grazioso
Sonata No. 8 In A Minor, K.310: I. Allegro Maestoso
Sonata No. 8 In A Minor, K.310: II. Andante Cantabile Con Espressione
Sonata No. 8 In A Minor, K.310: III. Presto
Sonata No. 9 In D Major, K.311: I. Allegro Con Spirito
Sonata No. 9 In D Major, K.311: II. Andante Con Espressione
Sonata No. 9 In D Major, K.311: III. Rondeau. Allegro
Sonata No. 10 In C Major, K.330: I. Allegro Moderato
Sonata No. 10 In C Major, K.330: II. Andante Cantabile
Sonata No. 10 In C Major, K.330: III. Allegretto

Tracks:

Sonata No. 11 In A Major, K.331: I. Tema. Andante Grazioso E Variazioni
Sonata No. 11 In A Major, K.331: II. Menuet -Trio
Sonata No. 11 In A Major, K.331: III. (Rondo) Alla Turca. Allegretto
Sonata No. 12 In F Major, K.332: I. Allegro
Sonata No. 12 In F Major, K.332: II. Adagio
Sonata No. 12 In F Major, K.332: III. Allegro Assai
Sonata No. 13 In B Flat Major, K.333: I. (Allegro)
Sonata No. 13 In B Flat Major, K.333: II. (Andante Cantabile)
Sonata No. 13 In B Flat Major, K.333: III. (Allegretto Grazioso)
Sonata No. 14 In C Minor, K.457: I. Allegro
Sonata No. 14 In C Minor, K.457: II. Adagio
Sonata No. 14 In C Minor, K.457: III. Molto Allegro

Tracks:

Sonata No. 15 In F Major, K.533: I Allegro (K.533)
Sonata No. 15 In F Major, K.533: II. Andante (K.533)
Sonata No. 15 In F Major, K.533: III. Rondo. Allegretto (K.494)
Sonata No. 16 In C Major, K.545 'Sonata Facile': I. Allegro
Sonata No. 16 In C Major, K.545 'Sonata Facile': II. Andante
Sonata No. 16 In C Major, K.545 'Sonata Facile': III. Rondo. Allegretto
Sonata No. 17 In B Flat Major, K.570: I. Allegro
Sonata No. 17 In B Flat Major, K.570: II. Adagio
Sonata No. 17 In B Flat Major, K.570: III. Allegretto
Sonata No. 18 In D Major, K.576: I. Allegro
Sonata No. 18 In D Major, K.576: II. Adagio
Sonata No. 18 In D Major, K.576: III. Allegretto
Fantasia In D Minor, K.397: Andante
Fantasia In C Minor, K.475: Adagio

Customer Reviews:

Avoid at all costs!!!.......2007-07-24

I haven't heard the whole collection, but I've heard enough to know that it's not worth getting. Gould simply did not understand (or like) Mozart, and he certainly did not know how to play him either. For example, in the first movement of the Sonata in A (K331), he rushes through it and pounds away on the keys. Gould's version of that movement is only about eight minutes long, but it's a piece that needs to enjoyed like fine wine, not gulped like cheap beer. Lest anyone think that I am being too harsh on Gould, let me say that I am actually a big fan of his Bach recordings, and I even like his recording of Mozart's 24th Piano Concerto (K491). The quality of that recording might be due to the moderating influence of a conductor and orchestra, but there is no moderation in these sonatas, which is critically important to playing Mozart. Anyone who wants to hear Mozart's piano works as they should be played might want to listen to Ingrid Haebler. But Gould's set should be avoided like an ebola-infected monkey.

Gould and Mozart..........2006-10-27

Anyone who is a fan of Gould knows his personal opinion of the Mozart sonatas. Listening to this interpretation of Mozart is about as entertaining as being in a room full of typewriters and screaming infants--both monotonous and completely irritating at the same time. If you're new to Gould go to his interpretation of Bach's Well Tempered Clavier or the English suites...if you want definitive recordings of the Mozart sonatas try Brendel, Eschenbach or Uchida. There is no denying Gould's genius...it just not found in this recording.

Genius plays Genius.......2006-10-22

Gould has the most crisp keyboard execution and the brighest tone I've ever heard. His clarity during the fastest passages is frightening. My favorite of his playing in the box set is: Sonata no.8, 1st movement-extreme powerhouse virtuoso performance(I get quite worked up when I listen to it!) His rendition of Sonata no.11 Ronda Alla Turca may be annoying to some(slow); also some people may think many of the adagios are too slow; But the first and third movements make up for that; And when it comes to counterpoint, technique, clarity of voicings, and spirit, Gould is the best.

SCARY !.......2006-08-04

I guess I'd have to agree with those who feel that Gould was somehow ridiculing Mozart with this interpretation. It's all a matter of taste, and some obviously find this bizarre, eccentric recording to their liking, but if you're an average listener who is not into the weird stuff and just wants a decent set of Mozart's Piano Sonatas, this probably isn't for you, as it isn't for me.

Good for playing in shopping malls or "romantic evenings"..........2006-05-13

I gave up an initial idea to be a referee to all these pro et contra comments; simply, because I eternally love Mozart, and this ridiculous playing really harms me. People are looking for a quality entertainment, not for some silly demonstration. Mr. Gould should be awared that his crisp technique means absolutely nothing to millions who are looking for right performance of Mozart's "11.-14." sonatas. Nevertheless, his knowing of style is undeniable which makes impression that his neglect playing is deeply purposeful. The question arises who he tries to intrigue, an audience or Mozart; an audience won't tolerate it. Mozart, on the contrary, "knew" that the world is full of different kinds of "wizards" and "creative genius" so his A-dur sonata is probably his testimony to all these "humans".

An A-dur sonata is a kind of "board exam" to all eminent keyboardists. Some of them play brilliantly just one of movements but have no energy to make complete sonata polished. Even though the style is well-known ,"or is it?", pianists usually lack the energy in the allegretto which lids them to bring just an ordinary performance. Glenn Gould,a smarty guy, avoids any personal inconvenience by a little "recreating" the whole piece. Changing a tempos, he brakes the sonata in to three pieces with ambiguous concept.

Sonatas 12. and 14. are tent to be Ok. I'l let it go, just as it is- a little tolerance of mine. Now, a famous "c-mol" K.457 is totally ruined. It starts with a good tempo which is introduction to a great tragedy that might follow. However, Glenn Gould misses to underline beginnings and ends of phrases in the exposition of the themes, so he misses the whole Allegro movement, then his escape is a make up, adding ornamentations in "Allegro assai" which I found complete lack of wisdom and good sense. The rest of sonatas is just demonstration of his superior technique which is completely unbearable.

In addition, a "closer look" to tempos of "c-mol" pair, fantasia and sonata, reveals a question whether Glenn Gould is able to make the whole idea realized, particularly if a concept is embedded with a new material such as tonalities and tempi. He just elaborates his own stubborn concept, based on virtuoso technique, and unchangeable, perfect but pointless even disturbing articulation- what a horrable iterpretation! This two pieces were turnover in Mozart's style and, thus, ask for really intelligent musician to reveal full blast of new ideas charged with personal emotions and inner tensions. It is -too much, for Glenn.

(we live in a real world and I find myself as a medioceree among other people devoted to science, my job)- but I love Mozart!

For the A-dur sonata I'd highly recommend Anthony Newman's recordings, also Newman is the best at Tragic K.310, Sonata Semplice and all early sonatas, particularly K.280 and the following G-dur; and following is my list of favorite recordings: Jos Van Immerseel and Demus Jorg- concertos, Ton Koopman and Pierre Hantai early works for harpsichord, Jeno Jando K.311, Bart Van Oort pair "c-mol" fantasia and sonata, and "d-mol" fantasia, as well, John Van Buskirk K.282, Rampe K.332, Lars-Urlik Mortnsen three concertos K.107, Levin early concertos 1-4 after C.P.E.Bach...Also I highly recomend virtuoso duos: Immerseel- Schroeder 6 Vienna sonatas K.296- 380; and Davos- Kuijken K. 526...
Mirro

Telemann: Twelve Fantasias for Transverse Flute

Average customer rating:

Telemann: Twelve Fantasias for Transverse Flute
Georg Philipp Telemann , and Barthold Kuijken
Manufacturer: Accent Plus
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000443N
Release Date: 1999-01-01

Tracks:

Fantasia No.1, A -Major
Fantasia No. 2 - A Minor
Fantasia No. 3 - B Minor
Fantasia No. 4 - B Major
Fantasia No. 5 - C Major
Fantasia No. 6 - D Minor
Fantasia No. 7 - D Major
Fantasia No 8 - E Minor
Fantasia No. 9 - E Major
Fantasia No. 10 - F Sharp Minor
Fantasia No. 11 - G Major
Fantasia No.12 - G Minor

Telemann: Twelve fantasias for flute without bass

Average customer rating:

Subtle and Elegant

Telemann: Twelve fantasias for flute without bass

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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Boismortier: Sonatas for flute Op91
Boismortier: Six Concertos for Five Flutes

ASIN: B000009CXV
Release Date: 2007-04-03

Tracks:

Fantasia No.1, In A Major / Fantaisie No.1, An La Majeur
Fantasia No.2, In A Minor / Fantaisie No.2, En La Mineur
Fantasia No.3, In B Minor / Fantaisie No.3, En Si Mineur
Fantasia No.4, In B-Flat Major / Fantaisie No. 4, En Si Bemol Majeur
Fantasia No.5, In C Major / Fantaisie No.5, En Do Majeur
Fantasia No.6, In D Minor / Fantaisie No.6, En Re Mineur
Fantasia No.7, In D Major / Fantaisie No.7, En Re Majeur
Fantasia No.8, In E Minor / Fantaisie No.8, En Mi Mineur
Fantasia No.9, In E Major / Fantaisie No.9, En Mi Majeur
Fantasia No.10, In F-Sharp Minor / Fantaisie No.10,En Fa Diese Mineur
Fantasia No. 11, In G Major / Fantaisie No. 11, En Sol Majeur
Fantasia No.12, In G Minor / Fantaisie No.12, En Sol Mineur

Customer Reviews:

Subtle and Elegant.......2000-11-12

This recording contains the most subtle and elegant playing I have ever heard on the Baroque flute. After hearing Guimond play no one would ever again agree with the outworn cliche that the Baroque flute cannot be played in tune. Her command of the instrument is prodigious, but it is her intelligence in interpreting the music that is so engaging. The dynamic nuances and tasteful embellishments are as nearly perfect as any playing could ever be.

Backhaus plays Brahms: Celebrated HMV Solo Piano Recordings, 1929-1936 (2 CDs)

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Backhaus plays Brahms: Celebrated HMV Solo Piano Recordings, 1929-1936 (2 CDs)

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

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Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

ASIN: B00018Q4HY
Release Date: 2004-02-02

Tracks:

Ballade In D Minor, Op.10 No.1
Ballade In D Major, Op.10 No.2
Scherzo In E-Flat Minor, Op.4
Waltzes, Op.39: No.1 In B/No.2 In E/No.15 In A-Flat
No.6 In D-Flat/No.7 In A Major
Ballade In G Minor, Op.118 No.3
Intermezzo In A Minor, Op.76 No.7/Capriccio In C, Op.76 No.8
Intermezzo In F Minor, Op.118 No.4/Romance In F, Op.118 No.5
Intermezzo In E-Flat Minor, Op.118 No.6
Rhapsody B Minor, Op.79 No.1
Rhapsody In G Minor, Op.79 No.2
Intermezzo In A Minor, Op.118 No.1/Intermezzo In A, Op.118 No.2

Tracks:

Waltzes, Op.39 Nos.1-5
Waltzes, Op.39 Nos. 6-11
Waltzes, Op.39 Nos.12-15
Intermezzo In E Major, Op.116 No.4
Intermezzo In E-Flat Major, Op.117 No.1
Intermezzo In B-Flat Minor, Op.117 No.2
Intermezzo In B Minor, Op.119 No.1
Intermezzo In E Minor Op.119 No.2
Intermezzo In E Minor, Op.116 No.4
Variations On An Original Theme, Op.21 No.1
Variations On A Theme By Paganini, Op.35 Book 1
Var. 9-13
Var.14 To Half Way Through, Then Cut To Var.1 Of Book 2; Var.1-8
Var.9 - End
Capriccio In B Minor, Op.76 No.2/Intermezzo In C Major, Op.119 No.3
Capriccio In D Minor, Op.116 No.1/Intermezzo In A Minor, Op.116 No.2

Average customer rating:

Baroque treasure played by a rising star !!!

Violin Fantasies
Telemann , and Podger
Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

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Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger

ASIN: B000066R8J
Release Date: 2002-09-10

Customer Reviews:

Baroque treasure played by a rising star !!!.......2002-12-13

This is a true gem from the Baroque archives that is rarely played or recorded. These fantasies for solo violin were written in 1735, only 15 yrs after Bach wrote his infinitely famous Sonatas and Partidas for solo violin. Fans of Bach looking for new music will be happy playing and listening to these fresh works. I really enjoy the imagination and creativity displayed here, plenty of rhythmic diversity and unattached musical ideas to spare.

Rachel Podger is a new face in the violin world who surfaced with her debut in only 1999. She plays a baroque violin with rather unique silvery tone and plays with almost no vibrato at all so baroque purists will be pleased. I have to say this CD sounded different than her Bach Sonatas CD, I preferred that tone on that CD a little more for some reason.

I found Ms. Podger's playing to be deeply sensitive, full of impeccable intonation, and there was no sense of hesitation or fumbling for the notes. Like in her In Fantasia numbers one and seven she displays her very fine staccato bowing technique and ability to handle difficult technical demands. In the slow movements I could really feel an underlying sadness in her sound, like she meant every note.

The booklet that comes with the CD that explains the music and Ms Podger's insight to the music is a great addition to this purchase.

A lot of people into baroque violin rave about the talent of her colleague, Andrew Manze who also recorded the same works. I much prefer Ms. Podger's playing because of her sincerity and faithfulness to the score with respect to tempos and rhythm.

I suspect that Ms. Podger will have a bright future as she has already received rave reviews...Rachel, if you are reading this, keep on recording more lesser known baroque compositions for us and thank you.

For a more romantic interpretation, I am aware that Arthur Grumiaux recorded this but I think the recording is rare and only avaiable on vynil.

Tracks:

Index 1. Vivace - Index 2. Allegro
Index 1. Grave - Index 2. Vivace - Index 3. Adagio - Index 4. Allegro
Index 1. Largo -Vivace -Largo -Vivace - Index 2. Allegro
Index 1. Andante - Index 2. Allegro - Index 3. Presto
Index 1. Presto -Largo -Presto -(Largo) - Index 2. Allegro - Index 3. Allegro
Index 1. Dolce - Index 2. Allegro - Index 3. Spirituoso
Index 1. Alla Francese - Index 2. Presto
Index 1. Largo - Index 2. Spirituoso - Index 3. Allegro
Index 1. Affetuoso - Index 2. Allegro - Index 3. Grave - Index 4. Vivace
Index 1. A Tempo Giusto - Index 2. Presto - Index 3. Moderato
Index 1. Allegro - Index 2. Adagio -Vivace - Index 3. Allegro
Index 1. Grave -Allegro -Grave -Allegro - Index 2. Dolce - Index 3. Allegro - Index 4. Presto