Customer Reviews

Schmelzer: Violin Sonatas

5 star:		(7)
4 star:		(0)
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I've listened to this album dozens of times in the past -- it is one of the most lyrical, beautiful albums I've heard in several years. The music has passages of great virtuosity which Manze, one of the great violinists of our time, performs with utter confidence, but what makes the album enjoyable over and over again are the hauntingly sweet slow passages. These are songs deeply felt and deeply sung.

Recently I discovered Biber's Violin Sonatas performed by Romanesca. I was so impressed with that CD, I decided to find out what else Andrew and his friends had been up to. That is when I discovered this CD. This has turned out to be a double bonus. Not only is the performance by Romanesca outstanding, but also I found Schmelzer to be quite intriguing. Everything the previous reviewers have said is absolutely true. Schmelzer is beautiful, lyrical, haunting, and yes he does fall into the Godiva category. To quantify this, this is the perfect morning CD if you are looking to be eased into your day as opposed to breaking into it with Vivaldi. It's also the perfect CD to unwind with after a stressful day. It's so emotional you can't help but be pulled out of your universe forgetting all your daytime woes.

As a violin fanatic, I was very anxious to get my hands on this CD! However, I was not expecting it to be as wonderful as it is! Manze's intonation and technique are flawless, as always, and his up-beat tempos in the fast sections make what the entire concert exciting. The slow movements are played with care and not "astringent" like some other period-instrument performances I have heard. Manze is not the only star on this recording: the entire Romanesca Ensemble is superb in balance and technique. Since I love Biber's Rosenkranz Sontatas, I was happy to see the arrangment on this disc. Schmelzer seems to pick up right where Biber left off, giving the sonata a fun and exhilerating Turkish concept. Here's to yet another disc that beautifully introduces us to a virtually unknown Baroque composer! Highly recommended.

Continuing Manze's quest towards lesser know baroque violin music, he has embarked upon a real gem. Schmelzer was probably the teacher of Biber, and his music is some of the most lyrical and beautiful writing that I have come across. The 'sonatae unum fidium' were the first violin sonatas published by a non-Italian composer - so they are also historicaly very important. You can hear through Schmelzer's music the basis on which much of Biber is founded - very much in the sonata idiom of the time - shortish passages in contrasting dance times, speeds, and styles. Of course they are played, as Manze plays everything, with ingenious interpretation, and lyrical beauty, and are carefull accompanient by Egarr etc.The sonata arranged from Biber's Rosary sonatas by Schmelzer's son is very interestingly performed, with much embellishment of a turkish style which suits the piece. A very good record, and well worth the money

these days I am just suffering;however, luckily I have this CD as my companion. It gives me a lot of pleasure and soothes my troubled mind. Highly recommended. You will not regret buying this CD. Believe me.

The sonatas here are equisite and musically-rich compositions and possibly the very first (1664) solo violin + continuo sonatas ever published. Additionally, this recording is one of the finer recordings from Baroque specialist Andrew Manze & Romanesca in my opinion. Right from the opening piece, one's senses are immediately captived by Manze's soaring runs against the fine continuo and the gorgeous sound ambiance of the recording. Romanesca's performance here on the whole are outstanding as is Andrew Manze's for his more consistent intonation, expressive melodies and trademark intricate, precise and rhythmic playing.

A highlight of this disc surely is the haughtingly beautiful opening Sonata IV (1664), which immediately creates a sense of allure and a drama to unfold - and it does most splendidly with poinant, melancholic adagios that turn into molto-presto displays of gypsy-like rhythmic attack and virtuostic brilliance from Mr. Manze. This sonata is just one of the many beautiful works on this CD - and may be one of finest expressive pieces of music Manze has recorded. These are not your typical or monotanous Baroque sonatas (as Baroque ones can be) but possess an intricant, somewhat-experimental and highly emotive expression that was sought after by composers in this period of history where virtuosity reigned. Each one is musically different and rewarding. It is music that grows on you - rather than wearing on you - with frequent listening.

Baroque master Andrew Manze brings much to this music which was intended only for the most advanced of musicians. Undoubtedly, his technical prowness shines the most with his strong rhythmic sense, percussive textures and crisply-articulated bowing in the fast parts - all of which create great excitement and drama. His demisemiquaver scalar runs in the "passionate outbursts" are about as effortless and smooth as you can hear anywhere. As compared to some of his other music, Mr. Manze here better succeeds with Schmelzer to find more of the "heart" of the slower, lyrically-expressive movements. His soaring riffs in Sonatas I, II, III and IV exude tangible passion and are some of his most "Italianesque" playing I have heard. (Schmelzer, like his predicessor Biber, wrote much music with Italian style and virtuoso players in mind.)

If there is a lackluster momement on the CD for me, it was the adaptation of Biber's tenth "Rosary Sonata" which was not as attractive as the Schmelzer pieces to my ears. Here, Mr. Manze does not quite find a smooth, graceful, lyrical expression in the adagio tempos (and a few other momements in the other sonatas) and sounds slightly more strained in tone and somewhat emotionally awkward at times (track #11 for example). But, to most people, this seems not an issue or a cited weakness in Manze's playing. Regardless, this is not too consequential overall as the magnificant compositions and suspenseful progression of the music as a whole override any such 'flat' moments to some ears.

And let's not forget to fully recognize the humble - yet critical - continuo playing from Nigel North and John Toll here. Their skillful and well-judged style creates a most effective backdrop to spotlight Manze's melody lines. Their instruments sound marvelous and are captured in a perfect balance with a superb sound quality from HM. The tastefully-resonant sound ambiance I think is just right to bring out the beauty, enchantment and emotional depth of this music. It is one of the better-sounding recordings I have.

This music is a fresh change from the typical Baroque-style music that can start to sound too much the same after a while (Vivaldi for one). And as many other reviewers here note, this is a most attractive recording featuring some of the Baroque-era's more intriguing violin-sonata compositions as well as some of Andrew Manze's more alluring and musically-opulant playing. Rating: Composition 5, Performance 4.5, Sound quality 5.

This is a wonderful recording! Scholarly performance, beautifully rendered. This has quickly become one of my favourite early music recordings of all time. This is a great ensemble. I love the twang of the theorbo, especially the 'growl-twang' of the low notes when they're plucked hard. The theorbo is just a neat instrument, period. I'd be thrilled to play a harpsichord that sounds like this one. The continuo organ is a little gem. Vibrato on the violin is rare, sprinkled very judiciously as ornamentation only (the way it should be). On a scale of Hershey's to Godiva, this recording is way on the Godiva end! CAUTION: This is not schmaltzy classical music. It is unsuitable for the blue-haired.