Francesco Maria Veracini (1690-1768)
Sonate Accademiche – An Anthology
Eva Saladin (violin), Daniel Rosin (cello), Johannes Keller (harpsichord)
rec. 2024, church of St.Pantaleon, Nuglar-St.Pantaleon, Switzerland
Reviewed as a download
Challenge Classics CC720005 [66]

In the early 18th century, Francesco Maria Veracini was considered one of Italy’s most important and brilliant violinists, but he has gone down in history primarily as an eccentric and rather arrogant personality. Charles Burney famously wrote about the difference between Giuseppe Tartini (two years Veracini’s junior) and Veracini: “Tartini was so humble and timid, that he was never happy but in obscurity; while Veracini was so foolishly vain-glorious as frequently to boast that there was but one God, and one Veracini.” There are enough reasons to believe Burney wasn’t exaggerating in calling Veracini arrogant. He named his two violins St Peter and St Paul, and wasn’t afraid of ‘improving’ Corelli’s Sonatas opus 5, and in Dresden in 1722 he fell out of a window, claiming this was an attempt to kill him out of jealousy, although it is generally assumed he tried to commit suicide, being in a state of depression.

Veracini composed some vocal music, including four operas, eight oratorios (all lost), a few sacred works, cantatas and songs. Today, he is almost exclusively known for his instrumental music. The earliest collection is a set of twelve sonatas for violin or recorder, which were never published in his time. In 1721, during his time in Dresden, he published his Op. 1, again twelve sonatas, this time exclusively intended for the violin. The second printed edition is the Op. 2, which is the subject of the present disc. It was published in London in 1744 under the title of Sonate Accademiche. The second word refers to the aristocratic academies which existed in Italy. At the gatherings of these academies music of various genres was performed, not only instrumental sonatas but also cantatas, for instance by Alessandro Scarlatti.

Eva Saladin decided not to record the complete set of sonatas, but rather movements from a number of them (except VIII and XII, which are recorded complete). This is in accordance with Veracini’s own suggestion in the preface: “In view of the fact that each of these twelve sonatas consists of four or five movements, it is pointed out that this was done for the sake of the richness and ornamentation of the book, and also in order to offer amateurs and dilettantes of music greater pleasure. Otherwise two, or even three movements, chosen at one’s own discretion, are sufficient to form a sonata of appropriate length.” Musically, that is not a problem, especially as the sonatas are so different in structure, and the individual movements are different in character.

The Sonata I consists of five movements: toccata, capriccio, allegro, epilogo della toccata, capriccio. The Sonata III has four movements: ritornello, largo e nobile, capriccio, aria rustica. The Sonata IX has only three movements: allegro moderatamente, adagio, scozzese.

As I mentioned, the Sonata XII is performed complete. The programme opens with the two first movements and closes with the last two. Notable is that the sonata opens and closes with movements based on a basso ostinato. This was a very popular form at the time.

Some movements are self-evident, such as largo, allegro, giga and menuet. However, in other cases it is less clear what they are about. Ritornello is an example: we know that from both instrumental and vocal music. In this case the model seems to be an aria from an opera. An example is the ritornello from the Sonata VIII: the violin acts as a singer, and in the last solo episode it adds a cadenza. The solo episodes are alternated by ‘tutti’ passages. These are clearly discernible.

Several movements are called capriccio. This term first appeared in the second half of the 16th century, and was since then used for a wide variety of musical forms. In these sonatas it usually indicates a piece dominated by counterpoint. Sometimes the violin part includes double stopping, and sometimes violin and basso continuo are highly independent.

The sonatas also refer to the places where Veracini has stayed. The Sonata II opens with a movement called Polonese (not included here), which refers to his time in Dresden, as the Saxon electors were also king of Poland. Here we have a movement with the title of Scozzese, the last of the Sonata IX. Veracini was in London at the time that Scottish traditional music was very popular. Several collections of such music were published, and composers felt attracted to it and arranged dances and songs. Among them were the Italian-born Francesco Geminiani and Francesco Barsanti. Scozzese is a series of variations on a tune known as Tweedside. Veracini played it in 1750 in Florence in the presence of the British ambassador.

This description may suffice to convince the reader that this is a very interesting and varied set of movements. Eva Saladin is known as a technically gifted violinist, who has a special interest in improvisation. A part of that practice is ornamentation. However, Veracini does not give the performer much freedom, as Saladin writes in the liner-notes. “He often adds the remark ‘come stà’ (‘as written’) in places where a violinist might add substantial embellishments, and asks for specific articulations and dynamic effects such as a messa di voce or a quick crescendo.” That means that the variety stems from the music and the way the performer plays it. There is nothing to complain of here, as far as that is concerned. Eva Saladin can play with great refinement, such as in the largo from the Sonata IV, but also with much aplomb and energy, for instance in the menuet from the same sonata (the addition 1711 may refer to the year it was written) and the capriccio from the Sonata III. Daniel Rosin and Johannes Keller deliver the indispensable harmonic and rhythmic support.

This is a compelling disc in its own right, thanks to the fine music of Veracini and the excellent performances. It is also a perfect introduction to the oeuvre of Veracini. If you want to hear the complete Op. 2, look for the recording by The Locatelli Trio (Hyperion, 1995/2007).

Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
https://bsky.app/profile/musicadeidonum.bsky.social

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Contents
Sonata XII in d minor: passagallo – capriccio cromatico
Sonata I in D: capriccio secondo
Sonata IV in F: largo – menuet 1711
Sonata III in G: ritornello – largo, e nobile – capriccio quarto
Sonata VIII in E minor
Sonata XI in E: capriccio VIII
Sonata IX in A: Scozzese
Sonata XII in d minor: adagio – ciaccona