Handel's violin sonatas composed in London range from the time of his Italian opera productions at the Royal Academy of Music to his last English oratorios. The original purpose, context and performers of the sonatas are not known; only a few have survived in autographs. The authorship and instrumentation of the pieces that survive in unreliable early printed sources are a confusing mess. In order to better classify the works, the Quartetto Vanvitelli has found a kind of common thread that explores possible emotions, timbres and unifying tonalities. It runs through several authentic violin sonatas, some misattributions, quotations from Giulio Cesare in Egitto (1724) and arrangements of several piano pieces, resulting in a creative vision that focuses the light through the prism of Handel's music.
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