52,943 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider

£11 post-free anywhere
Normal service resumed


100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas

Bruno Monteiro (violin)

More Preludes to Chopin
Kenneth Hamilton (piano)

Gloriæ Dei Cantores


Recordings of the Month


Beethoven Piano Concertos

Stradal Transcriptions

LOSY Note d’oro

Scarlatti Sonatas Vol 2



Feinberg Piano Sonatas

Schoenberg Violin Concerto

Early Keyboard

Nun Danket Alle Gott
Now Everyone Thanks God


Plain text for smartphones & printers
Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this from

Tomaso Antonio VITALI (1663-1745)
Chaconne in G minor (Parte del Tomaso Vitalino) * [12:03]
Giovanni Battista VITALI (1632-1692)
Capriccio di Tromba per violino solo [2:15]
Furlana [3:05]
Barabano [4:14]
Il violino sona in tempo ordinario [2:56]
Rugiero [1:36]
Tomaso Antonio VITALI
Passo e mezzo in A minor [3:14]
Sonata prima in A minor [7:12]
Sonata duodecima [3:21]
Sonata in D major [6:52]
Giovanni Battista VITALI
Bergamasca per il violone [2:08]
Bergamasca per il violino [1:58]
Passo e mezzo [4:28]
Toccata per violino solo [1:15]
Sonata seconda in A minor [5:38]
Clematis (François Joubert-Caillet (bass viol), Benjamin Glorieux (cello), Quito Gato (theorbo, guitar), Thierry Gomar (percussion), Marion Fourquier (harp), Lionel Desmeules (organ))/Stéphanie de Failly (violin)
* Thomas organ, Église Notre-Dame de Gedinne
rec. August 2011, Église Notre-Dame de Centeilles; August 2012, Église Notre-Dame de Gedinne (Chaconne)
RICERCAR RIC326 [62:15]

Giovanni and Tomaso Vitali were father and son violinist composers from Bologna who made their living in the court of Modena. Their toehold on the Baroque repertoire is almost exclusively due to the Chaconne of Tomaso which opens this recording. It features on 29 of the 33 recordings of works by Tomaso (according to Arkiv Music), and has been recorded by such luminaries as Jascha Heifetz, David Oistrakh, Arthur Grumiaux and Zino Francescatti.
Their styles are an interesting mix of the prevailing Italian sonatas and French dance suites. The choice of continuo instruments changes from one work to the next, providing great contrast and interest. While Tomaso’s name is the one that survives best because of the chaconne, it is his father’s compositions that impress more. The two bergamascas, one for bass viol and the other for violin, are treasures in miniature.
Recently, I reviewed a recording of sonatas by Antonio Bertali, a contemporary of the Vitalis. Reluctantly, I had to comment on the occasional problems of intonation that were evident. There is absolutely no such problem here. Every performer is totally secure. There is no harshness in the bowings, and the tempos are well judged, and never rushed, a failing of some historically informed Baroque performers.
The notes are a model of informed clarity that other labels would do well to consider. From what I imagine is a relatively small pool of information about these composers, Jérôme Lejeune has fashioned seven pages of well-written commentary on the lives of the composers and their times, and analyses of the music, which do not require a degree in music theory to understand. Stéphanie de Failly has contributed her personal thoughts about the connection between violinist and historic violin: she plays a 1620 Giovanni Paolo Maggini instrument.
This is an outstanding release in all respects. It will be in my Recordings of the Year come December, and if I hear better this year, I will count myself very lucky indeed.
David Barker