The violinist Chiara Zanisi works with the finest early music ensembles,
notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom
she has just finished a long tour performing the Six Brandenburg
Concertos. She now devotes her first solo recording to Johann Sebastian
Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia
Nuti, among the most brilliant harpsichordists and scholars in Italy,
whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM)
won a Diapason d’Or, among other awards. The kernel from which this
project grew is their strongly shared idea that, in addition to great
stylistic richness and invention, Bach’s music possesses an aura of
magic and an almost divine form. Thus, in this valuable and elegant
reading, it is clearly their intention to underline in the simplest way
the grandeur of the writing. Even the choice of sound aesthetic,
beautifully realised under the supervision of Fabio Framba, opts for the
‘real’ with a ‘pure’, ‘speaking’ sound, warm and full of harmonics. The
attractions of this precious version of the Six Sonatas, played on a G.
Gagliano violin of 1761 and a harpsichord by K. Hill, are enhanced by a
bonus track: the Cantabile, un poco Adagio from the early version of
Sonata VI in G major.The violinist Chiara Zanisi works with the finest early music ensembles,
notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom
she has just finished a long tour performing the Six Brandenburg
Concertos. She now devotes her first solo recording to Johann Sebastian
Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia
Nuti, among the most brilliant harpsichordists and scholars in Italy,
whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM)
won a Diapason d’Or, among other awards. The kernel from which this
project grew is their strongly shared idea that, in addition to great
stylistic richness and invention, Bach’s music possesses an aura of
magic and an almost divine form. Thus, in this valuable and elegant
reading, it is clearly their intention to underline in the simplest way
the grandeur of the writing. Even the choice of sound aesthetic,
beautifully realised under the supervision of Fabio Framba, opts for the
‘real’ with a ‘pure’, ‘speaking’ sound, warm and full of harmonics. The
attractions of this precious version of the Six Sonatas, played on a G.
Gagliano violin of 1761 and a harpsichord by K. Hill, are enhanced by a
bonus track: the Cantabile, un poco Adagio from the early version of
Sonata VI in G major.
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