Anna Kaiser, Johannes Berger, Sólrún Franzdóttir Wechner - Geminiani: Good Taste in the Art of Musick, Music for Violin and B.C. (2025) [Hi-Res]
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BAND/ARTIST: Anna Kaiser, Johannes Berger, Sólrún Franzdóttir Wechner
- Title: Geminiani: Good Taste in the Art of Musick, Music for Violin and B.C.
- Year Of Release: 2025
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 88.2kHz
- Total Time: 00:56:06
- Total Size: 330 mb / 1.05 gb
- WebSite: Album Preview
Tracklist
01. The Art of Playing on the Violin, Op. 9: XIII. Essempio XIII - Affettuoso
02. The Art of Playing on the Violin, Op. 9: Vi. Composizione Vi - Allegro Assai
03. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: I. Subject
04. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: II. Cantabile
05. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: III. Allegro
06. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: IV. Allegro Moderato
07. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: V. Allegro
08. Treatise of Good Taste in the Art of Musick. Auld Bob Morrice: I. Affettuoso
09. Treatise of Good Taste in the Art of Musick. Auld Bob Morrice: II. Allegro
10. The Art of Playing on the Violin, Op. 9: V. Composizione V - Allegro Assai
11. Rules for Playing in a True Taste, Op. 8. An Irish Tune: I. Subject
12. Rules for Playing in a True Taste, Op. 8. An Irish Tune: II. Cantabile
13. Rules for Playing in a True Taste, Op. 8. An Irish Tune: III. Allegro
14. Rules for Playing in a True Taste, Op. 8. An Irish Tune: IV. Presto
15. Rules for Playing in a True Taste, Op. 8. An Irish Tune: V. Andante
16. Rules for Playing in a True Taste, Op. 8. An Irish Tune: Vi. Presto. Legato E Sciolto
17. Treatise of Good Taste in the Art of Musick. Lady Ann Bothwel's Lament: I. Affettuoso
18. Treatise of Good Taste in the Art of Musick. Lady Ann Bothwel's Lament: II. Allegro
19. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: I. Subject
20. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: II. Cantabile
21. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: III. Allegro Moderato
22. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: IV. Affettuoso
23. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: V. Allegro Moderato
24. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: Vi. Allegro
25. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: VII. Affettuoso
26. Treatise of Good Taste in the Art of Musick. Sleepy Body: I. Allegro Moderato
Francesco Geminiani (1687-1762), son of the violinist Giuliano Geminiani. After a season at the Teatro dei Fiorentini in Naples and a two-year spell at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing public concert life and optimal publishing conditions in London were attracting a great many Italian musicians, who were adored by the English public, achieving cult-like status – Arcangelo Corelli most of all. As a pupil of Corelli’s, Geminiani inherited that legacy, while at the same time promoting an independent development in violin playing. Geminiani not only skilfully used the cult of Corelli and his own privileged position as an Italian musician to market himself; he also cultivated close contacts with powerful patrons, made a name for himself as an event organiser and painting dealer, and published several treatises.
Among those, his The Art of Playing on the Violin, which he published at his own expense in 1751, was pioneering. He was responding to a pronounced culture of violin enthusiasts, whose great demand caused a proliferation of amateur schools and rudimentary music compendiums in England. Geminiani’s treatise, however, was one of the first in Europe meeting professional standards. It differs significantly in scope and conception from other treatises of the mid-18th century from German-speaking countries, focusing intently on seeking the true nature of musical expression as the highest purpose of music. This is also reflected in the term ‘Ornaments of Expression’ coined by Geminiani to describe ornaments. He lists a rich selection of ornaments in another method, Treatise of good taste in the Art of Musick, published in 1749, designed to help the musician practise the art of ornamentation and variation.
This treatise, along with his Rules for Playing in a true Taste published in 1746, include arrangements and variations based on well-known Scots tunes. The fashion of choosing simple folk songs as the basis for compositions was also utilised by other Italian composers in order to meet the needs and preferences of the English public. Geminiani’s variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamentation techniques developed under the influence of many years spent in Paris. The compositions contained in Geminiani’s treatises go far beyond mere didactic use. His skilful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly trained, experimental and unconventional artist moving between nations and compositional styles.
01. The Art of Playing on the Violin, Op. 9: XIII. Essempio XIII - Affettuoso
02. The Art of Playing on the Violin, Op. 9: Vi. Composizione Vi - Allegro Assai
03. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: I. Subject
04. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: II. Cantabile
05. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: III. Allegro
06. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: IV. Allegro Moderato
07. Rules for Playing in a True Taste, Op. 8. Ann Thou Were My Ain Thing: V. Allegro
08. Treatise of Good Taste in the Art of Musick. Auld Bob Morrice: I. Affettuoso
09. Treatise of Good Taste in the Art of Musick. Auld Bob Morrice: II. Allegro
10. The Art of Playing on the Violin, Op. 9: V. Composizione V - Allegro Assai
11. Rules for Playing in a True Taste, Op. 8. An Irish Tune: I. Subject
12. Rules for Playing in a True Taste, Op. 8. An Irish Tune: II. Cantabile
13. Rules for Playing in a True Taste, Op. 8. An Irish Tune: III. Allegro
14. Rules for Playing in a True Taste, Op. 8. An Irish Tune: IV. Presto
15. Rules for Playing in a True Taste, Op. 8. An Irish Tune: V. Andante
16. Rules for Playing in a True Taste, Op. 8. An Irish Tune: Vi. Presto. Legato E Sciolto
17. Treatise of Good Taste in the Art of Musick. Lady Ann Bothwel's Lament: I. Affettuoso
18. Treatise of Good Taste in the Art of Musick. Lady Ann Bothwel's Lament: II. Allegro
19. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: I. Subject
20. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: II. Cantabile
21. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: III. Allegro Moderato
22. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: IV. Affettuoso
23. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: V. Allegro Moderato
24. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: Vi. Allegro
25. Rules for Playing in a True Taste, Op. 8. What Shall I Do to Show How Much I Love Her: VII. Affettuoso
26. Treatise of Good Taste in the Art of Musick. Sleepy Body: I. Allegro Moderato
Francesco Geminiani (1687-1762), son of the violinist Giuliano Geminiani. After a season at the Teatro dei Fiorentini in Naples and a two-year spell at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing public concert life and optimal publishing conditions in London were attracting a great many Italian musicians, who were adored by the English public, achieving cult-like status – Arcangelo Corelli most of all. As a pupil of Corelli’s, Geminiani inherited that legacy, while at the same time promoting an independent development in violin playing. Geminiani not only skilfully used the cult of Corelli and his own privileged position as an Italian musician to market himself; he also cultivated close contacts with powerful patrons, made a name for himself as an event organiser and painting dealer, and published several treatises.
Among those, his The Art of Playing on the Violin, which he published at his own expense in 1751, was pioneering. He was responding to a pronounced culture of violin enthusiasts, whose great demand caused a proliferation of amateur schools and rudimentary music compendiums in England. Geminiani’s treatise, however, was one of the first in Europe meeting professional standards. It differs significantly in scope and conception from other treatises of the mid-18th century from German-speaking countries, focusing intently on seeking the true nature of musical expression as the highest purpose of music. This is also reflected in the term ‘Ornaments of Expression’ coined by Geminiani to describe ornaments. He lists a rich selection of ornaments in another method, Treatise of good taste in the Art of Musick, published in 1749, designed to help the musician practise the art of ornamentation and variation.
This treatise, along with his Rules for Playing in a true Taste published in 1746, include arrangements and variations based on well-known Scots tunes. The fashion of choosing simple folk songs as the basis for compositions was also utilised by other Italian composers in order to meet the needs and preferences of the English public. Geminiani’s variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamentation techniques developed under the influence of many years spent in Paris. The compositions contained in Geminiani’s treatises go far beyond mere didactic use. His skilful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly trained, experimental and unconventional artist moving between nations and compositional styles.
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