FRANCESCO MARIA VERACINI: Overture 2 in F; Overture 6 in g; Sonata 6 in a; Sonata 7 in A; Violin Concerto in A – L’Arte dell’Arco/ Federico Guglielmo, violin and direction – CPO 777 302, 59:28 (Distr. by Naxos) ****:
I have neither the time nor the inclination to go into great detail about the life of Florentine composer Veracini (1690-1768), a man whose tumultuous existence was enhanced by his own abrasive and contradictory personality. From Florence to London to Düsseldorf to Dresden (Veracini, after an argument with violinist Pisendel, leapt out of an upper-story window that resulted in his walking with a limp the rest of his life) to London again, and—after a shipwreck—back to Florence. There he was maestro di capella of the churches of San Pancrazio and San Gaetano, focusing on church music, and his worst enemy seemed to be himself. But talent will out itself, and Veracini was acclaimed as one of the best violinists in Europe, never abandoning the instrument even in old age. His compositions in many genres were also well-received for the most part, though he did incur some criticism, most notably from Burney in London, who yet was also an admirer of sorts.
Being Florentine and also familiar enough with the music of his time, Vivaldi as an influence was inescapable. Though he did not write a lot of violin concertos, the ones he did essay are obviously modeled on the Red Priest—you pick that up right from the start of this short A-major effort. All of the pieces on this disc, which CPO is labeling as Volume 1 of Overtures and Concerti, are from the period 1716-21, his first London/Dresden period. As such the works still display a youthful enthusiasm that fears no challenge, especially noted in the two overtures, which give the winds in particular a workout.
The two sonatas here are probably the most interesting pieces on this disc, six from 1716 and seven from 1721, demonstrating a renewed interest in counterpoint and a more serious style, if such a word is applicable. All of the performances are first rate, violinist/director Guglielmo on top of his game while L’Arte dell’Arco prove themselves worthy periodists. CPO’s sound is spacious and wide-ranging. You won’t need all of this series unless you are an obsessive completist as a little Veracini should suffice anyone, but this recording musters no complaints.
— Steven Ritter
