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In the summer of 2010, a Russian violinist named Yevgeny Sviridov took part in the Leipzig Bach Competition. And he returned home as the winner - much to the surprise of his St. Petersburg teacher, who had known nothing about it. A year later, the young man's debut CD was released, and people were speechless because he played "so fresh, so lively, so full of life, as if he had just invented this music". Back then he did this with Johann Sebastian Bach and Heinrich Ignaz Franz Biber, now he devotes himself to the Bohemian composer and violinist Franz Benda on cpo, who - coming from the most modest of backgrounds - made a "career" at the court of Frederick II of Prussia. And once again it becomes clear that Sviridov doesn't like pigtails: after just a few bars, the long-time director of Concerto Köln shows us that music is indeed an overwhelming speech of sound, and in doing so he saves us the trouble of reading many clever books ...


"This recording of works by Franz Benda has it all: repertoire value, joy of playing, chamber music perfection, unpretentious virtuosity and a recording technique that produces pure aural naturalness with a hint of reverberation. Reason, therefore, for top marks." (Klassik heute)

If there is one student of Johann Sebastian Bach whom posterity has definitely not forgotten, it is Johann Gottlieb Goldberg. However, he owes this destiny to his position as harpsichordist to Count Keyserling: during the latter’s bouts of insomnia, it was Goldberg’s task to play for him the famous variations that he had commissioned from the Leipzig Kantor. This has probably long obscured the fact that Goldberg was also an excellent composer. Aside from his only two surviving cantatas (already recorded by Ricercar), his output is essentially instrumental, and the genre of the trio sonata occupies an appreciable place within it. Here are his complete trio sonatas, along with a sonata in C major at one time attributed to Johann Sebastian Bach (BWV 1037).

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After devoting a disc to sonatas by Giuseppe Tartini, for this anniversary year of the illustrious Paduan virtuoso, Evgeny Sviridov offers us a recording of violin concertos. This is his first collaboration with Millenium Orchestra, the ensemble founded by Leonardo García Alarcón in the framework of CAVEMA in Namur. Most of the concertos selected come from manuscript copies made in eighteenth-century Germany, where Tartini’s reputation was very high. Evgeny Sviridov has found in these scores cadenzas and ornaments which are very probably in the hand of Johann Georg Pisendel, the great virtuoso violinist of the Dresden court, a friend (and interpreter) of Johann Sebastian Bach! Following a practice that was becoming increasingly common in Germany at that time, one of the concertos has two horn parts in addition to the strings. Of the 130 or so surviving violin concertos, Evgeny Sviridov has selected five (D major D24, A major D89, E major D48, E minor D55, G minor D85).

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Giuseppe Tartini. Sonatas for violin and basso continuo, op.1 and Sonatas for violin solo "del Tasso"

Evgeny Sviridov - baroque violin

Davit Melkonyan - baroque cello

Stanislav Gres - harpsichord

"Ricercar" label 

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J.S.Bach, H.I.F.von Biber: violin sonatas (2011)

Evgeny Sviridov, baroque violin

Zita Mikjanska, harpsichord

Genuin Classics 11207

A.Vivaldi: violin sonatas "per Pisendel" (2012)

E.Sviridov, M.Krestinskaya, A.Reshetin, N.Kozhuhar - baroque violins

S.Maltizova - baroque cello, I.Tarum - harpsichord

ERP 6312

A.Vivaldi: violin sonatas - World Premiere Recording (2013)

E.Sviridov, M.Krestinskaya, A.Reshetin, M.Katarzhnova - baroque violins

S.Maltizova - baroque cello, I.Tarum - harpsichord

ERP 6313

A.Vivaldi: violin sonatas "opera quinta" (2014)

E.Sviridov, M.Krestinskaya, A.Kalinina - baroque violins

S.Maltizova - baroque cello; I.Tarum, R.Tepp - harpsichord

ERP 7214

A.Vivaldi: sonatas for 2 violins "senza basso" (2014)

E.Sviridov, M.Krestinskaya - baroque violins

S.Maltizova - baroque cello, I.Tarum - harpsichord

ERP 6713


J.-M.Leclair. Violin Concerto D major, op.7 no.2 (3d movement) from Festival de Sable