64 Songs

TITLE TIME
Violin Concerto in E Minor, Op. 64
12:54
7:37
6:15
Violin Concerto No. 1 in G Minor, Op. 26
7:48
8:17
7:18
9:13
8:29
Violin Concerto No. 3 in G Major, K. 216
9:59
8:16
6:26
Violin Concerto No. 4 in D Major, K. 218
9:29
6:46
7:22
Violin Concerto No. 5 in A Major, K. 219
9:44
9:24
8:50
Sonata for Violin and Piano No. 9 in A Major, Op. 47 "Kreutzer"
11:43
15:26
7:00
Sonata for Violin and Piano No. 5 in F Major, Op. 24 "Spring"
10:13
6:06
1:19
7:00
1:51
7:22
2:43
3:53
2:06
3:27
3:21
2:13
2:49
2:14
2:34
4:14
3:19
4:18
2:04
3:26
2:50
1:54
3:49
2:50
2:32
2:29
3:03
3:30
2:37
2:39
4:22
2:33
3:19
4:16
4:20
2:06
7:45
2:47
8:08
2:55
2:45
10:16
5:56
7:52

About Francesco Maria Veracini

This Italian violinist was considered one of the top violinists during his lifetime, if not the top violinist. Rarely was he criticized for his playing ability though on occasion his bowing was considered to be too brash. He was an arrogant and independent individual who did hold positions in various places, but would rather not be in service to any one except himself. Veracini was more interested in his independent eclecticism than monetary riches. His musical compositions for the violin show an influence from Vivaldi. Veracini was taught by his uncle and by Casini. He held positions in Dresden, Florence 1723-33, where he composed predominantly religious works, visited London between 1733 and 1738 when he composed four operas including "Adriano in Siria" (1735) "La clemenza di Tito" (1737) "Partenio" (1738), and later became the master of the chapel at St. Michele in Florence in 1758. Veracini composed approximately sixty violin sonatas, concertos, oratorios, cantatas, and songs. The violin sonatas were lucid examples of the galant style and indicate not only an influence of Vivaldi but Casini as well. Performing into his elder years, Veracini denounced homophony. ~ Keith Johnson

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