Emmanuele Baldini & Rafael Cesario – Almeida Prado: Works for Violin and Cello (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 57:48 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
José Antônio de Almeida Prado was one of the most prolific and creative Brazilian composers of the second half of the 20th century, finding inspiration in everything from the birdsong and forests of his native country to a contemplation of the galaxies. The evocative Le Livre magique de Xangô is considered a foundational work in Almeida Prado’s final, eclectic postmodern phase, during which folk music also re-emerged in works such as Das Cirandas. The lively Solo Violin Sonata and lyrical Capriccio both explore the violin’s full expressive potential, while The Four Seasons tests the skill of younger players.
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Emmanuele Baldini & Pablo Rossi – Villa-Lobos: Complete Violin Sonatas (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 53:47 minutes | 512 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Heitor Villa-Lobos’s three Violin Sonatas date from a key period in his career: the moment at which he matured as a composer, established his personal idiom and achieved his first professional triumphs. Each Sonata shares some influence from French late Romanticism or Impressionism, as well as revealing Villa-Lobos’s skill as a string player. The First Violin Sonata’s subtitle of “D’esesp’erance” (‘Despair’) suits its melancholy lyricism, while the “infinite abundance of musical ideas” in the Second Violin Sonata is characterized by a wide range of emotions. The sophisticated Third Violin Sonata is steeped in the influence of Debussy, but also anticipates Villa-Lobos’s new directions in the 1920s.
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Emmanuele Baldini & Luca Delle Donne – Wolf-Ferrari: Violin Sonatas Nos. 1-3 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:55 minutes | 1,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Ermanno Wolf-Ferrari’s reputation rests largely on his operas, but the instrumental music he composed at the beginning and end of his career deserves a wider currency. The influence of Brahms can be detected in the First and Second Violin Sonatas, though Wolf-Ferrari’s distinctive long-breathed melodies and chromatic flow are clearly present; the dramatic and expressive Second also includes references to Wagner’s Tristan. With its neo-Bachian figuration, passages of intense melancholy and uplifting operatic fantasy, the final Third Sonata is an enigmatic work, and unlike any other in the repertoire.
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