Davide Facchini - Vilsmayr: Partitas for Violin Solo (2026) [Hi-Res]
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BAND/ARTIST: Davide Facchini
- Title: Vilsmayr: Partitas for Violin Solo
- Year Of Release: 2026
- Label: Brilliant Classics
- Genre: Classical Violin
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:31:10
- Total Size: 424 mb / 1.63 gb
- WebSite: Album Preview
Tracklist
01. Partita No. 1 in A Major: I. Prelude
02. Partita No. 1 in A Major: II. Aria I
03. Partita No. 1 in A Major: III. Saraband
04. Partita No. 1 in A Major: IV. Gavott
05. Partita No. 1 in A Major: V. Menuett I
06. Partita No. 1 in A Major: Vi. Aria II
07. Partita No. 1 in A Major: VII. Menuett II
08. Partita No. 1 in A Major: VIII. Aria III
09. Partita No. 1 in A Major: IX. Menuett III
10. Partita No. 1 in A Major: X. Gigue E Final
11. Partita No. 2 in B-Flat Major: I. Prelude
12. Partita No. 2 in B-Flat Major: II. Aria I
13. Partita No. 2 in B-Flat Major: III. Saraband
14. Partita No. 2 in B-Flat Major: IV. Fantasia
15. Partita No. 2 in B-Flat Major: V. Menuett I
16. Partita No. 2 in B-Flat Major: Vi. Aria II
17. Partita No. 2 in B-Flat Major: VII. Menuett II
18. Partita No. 2 in B-Flat Major: VIII. Gavott
19. Partita No. 2 in B-Flat Major: IX. Passpied
20. Partita No. 2 in B-Flat Major: X. Ciaccona
21. Partita No. 3 in C Minor: I. Prelude
22. Partita No. 3 in C Minor: II. Courrant
23. Partita No. 3 in C Minor: III. Aria I
24. Partita No. 3 in C Minor: IV. Menuett I
25. Partita No. 3 in C Minor: V. Aria II
26. Partita No. 3 in C Minor: Vi. Canario
27. Partita No. 3 in C Minor: VII. Aria Lamentevole
28. Partita No. 3 in C Minor: VIII. Menuett II
29. Partita No. 3 in C Minor: IX. Gigue
30. Partita No. 4 in D Major: I. Prelude
31. Partita No. 4 in D Major: II. Aria I
32. Partita No. 4 in D Major: III. Menuett I
33. Partita No. 4 in D Major: IV. Brunada
34. Partita No. 4 in D Major: V. Saraband
35. Partita No. 4 in D Major: Vi. Aria II
36. Partita No. 4 in D Major: VII. Menuett II
37. Partita No. 4 in D Major: VIII. Canario
38. Partita No. 4 in D Major: IX. Passagalia
39. Partita No. 5 in G Minor: I. Prelude
40. Partita No. 5 in G Minor: II. Gavott
41. Partita No. 5 in G Minor: III. Saraband
42. Partita No. 5 in G Minor: IV. Rigodon
43. Partita No. 5 in G Minor: V. Gigue
44. Partita No. 5 in G Minor: Vi. Menuett
45. Partita No. 5 in G Minor: VII. Bourè
46. Partita No. 5 in G Minor: VIII. Retirada
47. Partita No. 6 in A Major: I. Prelude
48. Partita No. 6 in A Major: II. Aria I
49. Partita No. 6 in A Major: III. Saraband
50. Partita No. 6 in A Major: IV. Aria II
51. Partita No. 6 in A Major: V. Menuett I
52. Partita No. 6 in A Major: Vi. Aria III
53. Partita No. 6 in A Major: VII. Menuett II
54. Partita No. 6 in A Major: VIII. Aria IV
55. Partita No. 6 in A Major: IX. Gigue
56. Partita No. 6 in A Major: X. Eccho
Published in Salzburg in 1715, Artificiosus Concentus pro Camera is the only surviving collection for solo violin by Johann Joseph Vilsmayr, who served as a court violinist in Salzburg from 1689 until his death in 1722. We cannot be certain that he studied with Heinrich Biber, the greatest violinist of his age who became a leading musician at the Salzburg court, but the relationship between the two figures can be inferred from the style and the sophistication of Vilsmayr’s writing for his instrument.
Four of the partitas notably use scordatura, where the violin is retuned away from the conventional G-D-A-E intonation in order to explore new and striking expressive colours on the instrument. In works such as the cycle of Mystery Sonatas, Biber shows himself the master of this technique, but (as his putative student) Vilsmayr demonstrates a deep understanding of scordatura. For example, in the B flat major Partita, the highest string is lowered to D, creating a natural resonance that emphasizes a fundamental tone for that key. In the D major Partita, the scordatura (A–E–A–D) enriches the harmonic resonance by reinforcing the overtones of the key centre.
Despite its high musical and technical value, Vilsmayr’s collection remains little known, especially when compared to contemporary masterpieces for solo violin such as the Mystery Sonatas, the Sonatas and Partitas of Bach or the Fantasias by Telemann. In his booklet essay for this new recording, the violinist Davide Facchini explains how he was initially drawn to the world of Biber, before discovering these fascinating works of Vilsmayr. He discovered for himself that they represent a landmark moment in the Austrian violin school, ‘demonstrating a refined balance between technical invention, timbral exploration, stylistic sensitivity, and a profound preference for scordatura.’
Born in Rome in 2000, Davide Facchini studied with luminaries of the Baroque-violin tradition such as Enrico Onofri, Lorenzo Ghielmi, and Enrico Casazza. This album marks his international debut on record.
01. Partita No. 1 in A Major: I. Prelude
02. Partita No. 1 in A Major: II. Aria I
03. Partita No. 1 in A Major: III. Saraband
04. Partita No. 1 in A Major: IV. Gavott
05. Partita No. 1 in A Major: V. Menuett I
06. Partita No. 1 in A Major: Vi. Aria II
07. Partita No. 1 in A Major: VII. Menuett II
08. Partita No. 1 in A Major: VIII. Aria III
09. Partita No. 1 in A Major: IX. Menuett III
10. Partita No. 1 in A Major: X. Gigue E Final
11. Partita No. 2 in B-Flat Major: I. Prelude
12. Partita No. 2 in B-Flat Major: II. Aria I
13. Partita No. 2 in B-Flat Major: III. Saraband
14. Partita No. 2 in B-Flat Major: IV. Fantasia
15. Partita No. 2 in B-Flat Major: V. Menuett I
16. Partita No. 2 in B-Flat Major: Vi. Aria II
17. Partita No. 2 in B-Flat Major: VII. Menuett II
18. Partita No. 2 in B-Flat Major: VIII. Gavott
19. Partita No. 2 in B-Flat Major: IX. Passpied
20. Partita No. 2 in B-Flat Major: X. Ciaccona
21. Partita No. 3 in C Minor: I. Prelude
22. Partita No. 3 in C Minor: II. Courrant
23. Partita No. 3 in C Minor: III. Aria I
24. Partita No. 3 in C Minor: IV. Menuett I
25. Partita No. 3 in C Minor: V. Aria II
26. Partita No. 3 in C Minor: Vi. Canario
27. Partita No. 3 in C Minor: VII. Aria Lamentevole
28. Partita No. 3 in C Minor: VIII. Menuett II
29. Partita No. 3 in C Minor: IX. Gigue
30. Partita No. 4 in D Major: I. Prelude
31. Partita No. 4 in D Major: II. Aria I
32. Partita No. 4 in D Major: III. Menuett I
33. Partita No. 4 in D Major: IV. Brunada
34. Partita No. 4 in D Major: V. Saraband
35. Partita No. 4 in D Major: Vi. Aria II
36. Partita No. 4 in D Major: VII. Menuett II
37. Partita No. 4 in D Major: VIII. Canario
38. Partita No. 4 in D Major: IX. Passagalia
39. Partita No. 5 in G Minor: I. Prelude
40. Partita No. 5 in G Minor: II. Gavott
41. Partita No. 5 in G Minor: III. Saraband
42. Partita No. 5 in G Minor: IV. Rigodon
43. Partita No. 5 in G Minor: V. Gigue
44. Partita No. 5 in G Minor: Vi. Menuett
45. Partita No. 5 in G Minor: VII. Bourè
46. Partita No. 5 in G Minor: VIII. Retirada
47. Partita No. 6 in A Major: I. Prelude
48. Partita No. 6 in A Major: II. Aria I
49. Partita No. 6 in A Major: III. Saraband
50. Partita No. 6 in A Major: IV. Aria II
51. Partita No. 6 in A Major: V. Menuett I
52. Partita No. 6 in A Major: Vi. Aria III
53. Partita No. 6 in A Major: VII. Menuett II
54. Partita No. 6 in A Major: VIII. Aria IV
55. Partita No. 6 in A Major: IX. Gigue
56. Partita No. 6 in A Major: X. Eccho
Published in Salzburg in 1715, Artificiosus Concentus pro Camera is the only surviving collection for solo violin by Johann Joseph Vilsmayr, who served as a court violinist in Salzburg from 1689 until his death in 1722. We cannot be certain that he studied with Heinrich Biber, the greatest violinist of his age who became a leading musician at the Salzburg court, but the relationship between the two figures can be inferred from the style and the sophistication of Vilsmayr’s writing for his instrument.
Four of the partitas notably use scordatura, where the violin is retuned away from the conventional G-D-A-E intonation in order to explore new and striking expressive colours on the instrument. In works such as the cycle of Mystery Sonatas, Biber shows himself the master of this technique, but (as his putative student) Vilsmayr demonstrates a deep understanding of scordatura. For example, in the B flat major Partita, the highest string is lowered to D, creating a natural resonance that emphasizes a fundamental tone for that key. In the D major Partita, the scordatura (A–E–A–D) enriches the harmonic resonance by reinforcing the overtones of the key centre.
Despite its high musical and technical value, Vilsmayr’s collection remains little known, especially when compared to contemporary masterpieces for solo violin such as the Mystery Sonatas, the Sonatas and Partitas of Bach or the Fantasias by Telemann. In his booklet essay for this new recording, the violinist Davide Facchini explains how he was initially drawn to the world of Biber, before discovering these fascinating works of Vilsmayr. He discovered for himself that they represent a landmark moment in the Austrian violin school, ‘demonstrating a refined balance between technical invention, timbral exploration, stylistic sensitivity, and a profound preference for scordatura.’
Born in Rome in 2000, Davide Facchini studied with luminaries of the Baroque-violin tradition such as Enrico Onofri, Lorenzo Ghielmi, and Enrico Casazza. This album marks his international debut on record.
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