Bazzini Virtuoso Works for Violin and Piano

Does Bazzini need rehabilitating? A resounding yes after this set of delights

Record and Artist Details

Composer or Director: Antonio Bazzini

Genre:

Chamber

Label: Naxos

Media Format: CD or Download

Media Runtime: 0

Catalogue Number: 8 570800

Tracks:

Composition Artist Credit
Calabrese Waltz Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(6) Morceaux Lyriques Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(Le) Carillon d'Arras Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(2) Morceaux de Salon Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(2) Grande Études Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(3) Morceaux en forme de sonate Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
(La) Ronde des lutins Antonio Bazzini, Composer
Antonio Bazzini, Composer
Caspar Frantz, Piano
Chloë Hanslip, Violin
Among 19th-century violinist/composers, Antonio Bazzini (1818-97) was probably the most successful in escaping from exclusive specialisation in the virtuoso repertoire. His compositions include operas, sacred music, orchestral works and chamber music, so it’s rather sad that he should be remembered today by a single piece, the scintillating Ronde des lutins (“Dance of the Goblins”). Chloë Hanslip demonstrates most persuasively that, even among his violin showpieces, it isn’t a one-off. The items in her recital may make for fairly undemanding listening, the idiom may not be strikingly original, but Bazzini has the knack of integrating post-Paganini virtuoso features into a romantic style that’s sophisticated, subtle and tasteful. The cantabile items are very appealing – the central Romance in the Trois morceaux en forme de sonate could rival the ubiquitous Massenet Méditation were it to become better known – and the Op 49 Etudes are particularly interesting, the first a moto perpetuo with very original accented dissonances, the second a delightful scherzo with elegant double-stopping and lively cross accents, and an unexpectedly lyrical central section.

Hanslip certainly has the confidence and technique for this repertoire: more importantly, she’s able to engage with each piece, bringing out its particular expressive character. For the Romance in Op 44, for instance, she produces a soft, sensuous tone, quite different from her sound in the plaintive, ornate Nocturne from Op 41. Caspar Frantz accompanies very stylishly throughout, and Hanslip’s musical personality, graceful and with spontaneous verve, brings everything to life. It’s lovely violin-playing!

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