CABINET OF WONDERS, Vol. 1 – VILSMAYR • VISCONTI • SCHREIVOGEL: Sonatas for Violin and Basso Continuo (includes première recordings)

£10.99 + P&P

‘Ujszászi’s playing and interpretations strike me as near ideal.’ (Early Music Review). (released 2 Oct 2020)
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Kinga Ujszászi baroque violin
Tom Foster

Johann Joseph VILSMAYR (1663–1722)
Partita (Sonata) in E flat major for Scordatura Violin and Basso Continuo (manuscript) *
(open strings B♭ – E♭ – B♭– E♭)
I. Prelude [Grave – Presto]
2. II. Aria [Tarde]
3. III. Aria [Adagio]
4. III. Passagalia [Allegro – Presto]
5. IV. Menuett
6. V. Final
<< Passagalia released as a single (digital platforms only):  18 September 2020 [FHR89S] >>

Gasparo VISCONTI (1683–1731)
Sonata in C minor for Violin and Basso Continuo (manuscript)
7. I. Grave
8. II. Allegro Moderato
9. III. –

Sonata in F major for Violin and Basso Continuo (manuscript) *
10. I. Andante
11. II. Allegro
12. III. Adagio
13. IV. Menuet

Johann Friedrich SCHREIVOGEL (fl. 1707–1749) (SCHREYFOGEL)
Sonata in E minor for Violin and Basso Continuo
14. I. Grave
15. II. Andante
16. III. Allegro assai

Sonata in D minor for Violin and Basso Continuo (manuscript)
17. I. –
18. II. Allegro
19. III. Adagio
20. IV. –

Sonata in E flat major for Violin and Basso Continuo *
21. I. Vivace
22. II. Largetto
23. III. Allegro

Première recording *
Manuscripts from the Schrank II (Cabinet II) collection, Dresden (collected/copied by Johann Georg Pisendel (1687–1755)) except † from the Tartini Collection held at the Jean Gray Hargrove Memorial Library at the University of Berkeley, California

Schreivogel Sonata in E minor and Sonata in E flat major published by Edition HH, edited by Michael Talbot

Recorded at the Church of the Ascension, Plumstead, London, UK, 14–16 March 2020
Tracks 7–9 and 18–20 produced by David Gerrard, all other tracks produced by Tom Hammond (Chiaro Audio)
24bit, 96kHz hi-resolution recording, editing and mastering by John Croft (Chiaro Audio)

Press Quotes

“….Ujszászi’s playing and interpretations strike me as near ideal. The high level of technique needed to play this repertoire is still there in abundance… Tom Foster’s continuo support, on a mellow-toned copy by Keith Hill of a Taskin of 1769 tuned to unequal-temperament, is splendid…”  (Early Music Review)

“Cet album regorge d’ceuvres melodieuses cif la beaute et l’harnnonie ne cessent de se croiser. Le violon de K. Ujszaszi et le clavecin de T. Foster forment un duo plein de charme.” (4.5/5 Classique HD)

“Vilsmayr’s Partita in E flat major, which opens the disc, is remarkable… The opening Prelude is arresting, with a ghostly sound initially from the violin, leading into a virtuosic Presto with beautifully sweet double-stopping here from Ujszászi… a fabulous Passacaglia is kicked off emphatically by Foster here, with Ujszászi’s rasping unison double-stops… Ujszászi’s virtuosic string crossing and rapid finger work is highly impressive and a delight to listen to.” (Classical Notes)

“They are musical works that demand special, high technical and expressive skills if they want to come into their own, and fortunately this is the case with Kinga Ujszászi and her accompanist Tom Foster …Very nicely played and recorded very nicely. ” (