Antonio Veracini (1659-1733)
Sonates en trio pour 2 violons et continuo, op. 1

Semperconsort

Anna Noferini, violon
Sebastiano Severi, violoncelle
Andrea Benucci, thérobe
Cecilia Iannandrea, orgue
Giacomo Benedetti, clavecin
Luigi Cozzolino, violon, direction

Un Veracini peut en cacher un autre : si Francesco Maria a maintes fois retenu l'attention des interprètes, ceux-ci n'ont guère fréquenté son oncle et maître Antonio. Figure discrète comparée au virtuose international que fut son neveu, Antonio, hormis deux voyages à Rome et Vienne, passa toute sa vie à Florence, au service, jusqu'à la mort de cette dernière, de la Grande Duchesse de Toscane Vittoria à laquelle il dédia cet op. 1 qui nous est proposé. Constitué de 10 sonates en trio pour 2 violons, violoncelle ou archiluth et basse figurée à l'orgue, ce recueil s'inscrit dans la lignée des Sonatas da chiesa op. 1 et 3 de Corelli avec des harmonies plus audacieuses souvent fondées sur des passages chromatiques. Et l'ambition avouée dans la dédicace de plonger l'auditeur dans 'la contemplation de l'immortel et du céleste' transparaît dans la nature fortement émotionnelle des mouvements lents. Si cette prétention se heurte à la brièveté des pièces, elle trouve un début de réalisation dans l'interprétation du Semperconsort où chaque violon dialogue avec une exquise sensiblité de part et d'autre d'une masse active et sonore, tels Adam et Eve émergeant de la Création en fusion. (Michel Lorentz-Alibert)

The only available complete recording, newly made by a stylish Italian early-music ensemble, of a landmark collection of Baroque chamber music. Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew, the composer and violinist Francesco Maria Veracini (1690-1768), and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali, Bononcini and Stradella on the one hand, and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other. Even while working outside the patronage of the Medici family, Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist, he wrote mostly with his own instrument in mind, and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded, because he also became an owner of many superb violins and a dealer in their trade. Veracini’s Opus 1 collection was published in 1692 and dedicated to his patroness, the Grand Duchess Vittoria. It consists of ten ‘church sonatas’ of the newer sort exemplified by Vitali's op.9 collection published two years later, though Veracini’s style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements, each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum, and Veracini is fond of trumpet-like fanfares and echo effects. These ten sonatas made a tremendous impression on Veracini’s fellow composers at the time, and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity, especially in these recordings made by an ensemble with a track record of success in exploring the lesser-known corners of Baroque repertoire. Of their previous Brilliant Classics album featuring Vitali’s Op.11 Sonatas (93976), Fanfare magazine remarked: ‘It is all very delightful… thoroughly enjoyable and heartily recommended to all lovers of Baroque consort and dance music.’