Audiophile Violin Salvatore Accardo

• Ludwig van Beethoven (1770-1827): Romanza per violino e orchestra No. 2 in F Major, Op. 50
• 1Romanza per violino e orchestra No. 2 in F Major, Op. 5008:47
• Fritz Kreisler (1875-1962): Alt-Wiener Tanzweisen
• 2Schön Rosmarin01:51
• Ludwig van Beethoven (1770-1827): Sonata No. 9 in A Major, Op. 47 'Kreutzer Sonata'
• 3I. Adagio sostenuto - Presto14:44
• Niccolò Paganini (1782-1840): Cantabile for Violin and Guitar
• 4Cantabile for Violin and Guitar04:31
• l carnevale di Venezia, Op. 10
• 5Il Carnevale di Venezia Op. 1012:48
• Tomaso Antonio Vitali (1663-1745): Ciaccona
• 6Ciaccona11:45
• George Gershwin (1898-1937): Porgy and Bess: Summertime & A Woman Is a Sometime Thing
• 7Porgy and Bess: Summertime & A Woman Is a Sometime Thing04:14
• Pablo de Sarasate (1844-1908): Fantasia sulla Carmen, Op. 25
• 8Fantasia sulla Carmen, Op. 2512:28
• Total Runtime01:11:08

Info for Audiophile Violin

This recording is about music, more precisely, the impressive work of the greatest living exponent of the Italian violin tradition, Salvatore Accardo. Produced and recorded by Giulio Cesare Ricci, who has put together a varied program from millennium shots by the old masters: The Beethoven Romance No. 2 with the Accardo-founded and led Orchestra da Camera Italiana starts off Side 1 with a convincing and moving performance. Pablo de Sarasate's 'Carmen Fantasy' for Accardo is a home game, so to speak; only a few are likely to be as familiar with this virtuoso pinnacle of literature.

As a master of the 'encore piece,' Accardo proves himself with the miniatures: A paraphrase of George Gershwin's 'Summertime' and 'A Woman Is A Sometime Thing' and Fritz Kreisler's 'Schon Rosmarin.' A stirring interpretation of the Presto movement of the 'Kreutzer Sonata' follows, and then the circle closes back to Beethoven. A successful portrait of a great instrumental artist!

Orchestra da Camera Italiana
Salvatore Accardo, Violine, conductor
Laura Manzini, piano
Giorgia Tomassi, piano

One basic feature, which determines the difference between fonè and other record companies, is the recording of performances in their natural spaces, that is in the places where they were originally presented. This leads to a constant search for suitable locations, and the choice of churches, theatres, country mansions, drawing rooms and so on. The recordings are carried out with the utmost simplicity, the only way not to do violence to the music: all the equipment is high fidelity; use is made of valve-type paired microphones manufactured in the years 1947 and 1949 (U47, U48 and M49) with an extremely natural and transparent timbre and a bi-microphonic field effect; these microphones have a very important history: they were used to record the Beatles at the Abbey Road Studio and by the RCA for the 'Living Stereo' recordings.

No biography found.

Booklet for Audiophile Violin