Affetuoso
Percan plays the only known works of Italian Piani
View record and artist detailsRecord and Artist Details
Genre:
Chamber
Label: Onyx
Magazine Review Date: 08/2012
Media Format: CD or Download
Media Runtime: 75
Mastering:
DDD
Catalogue Number: ONYX4099
Tracks:
Composition | Artist Credit |
---|---|
(12) Sonatas for Violin and Continuo, Movement: B minor |
Francesco (Xaverio) Geminiani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
(12) Sonatas for Violin and Continuo, Movement: C minor |
Francesco (Xaverio) Geminiani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Sonata |
George Frideric Handel, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Sonatas for Violin, Movement: Sonata in E minor Op.1/2 |
Giovanni Antonio Piani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Sonatas for Violin, Movement: Sonata in G Op. 1/4 |
Giovanni Antonio Piani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Sonatas for Violin, Movement: Sonata in B minor Op.1/8 |
Giovanni Antonio Piani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Sonatas for Violin, Movement: Sonata in D Op.1/10 |
Giovanni Antonio Piani, Composer
Emilio Percan, Violin Luca Quintavalle, Harpsichord Oriol Aymat Fusté, Cello |
Author: DuncanDruce
Percan is an extremely capable violinist. Playing a modern Baroque-style instrument by Johannes Loescher, he makes a fine, bright, ringing tone, and many of the quicker movements sound brilliant and inspiriting. But I miss the close engagement with details of phrasing that makes the performances of the best Baroque specialists so eloquent. For an album entitled ‘Affettuoso’, it seems a shame that the many appoggiaturas are not leant on with more feeling and affection. His instincts seem often to remain those of a modern virtuoso, whether it’s a question of initial attack, articulation or dynamic variation. A number of the slower movements are surely too slow – in a Sarabanda, even when it’s marked Largo assai (Sonata No 2), we should still be able to sense the underlying rhythm of the dance. One can imagine Piani’s music appearing more strongly engaging, then, but Percan has certainly shown us how worthwhile and effective it is.
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