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Although the first violin virtuosos came mainly from Cremona, Brescia or Mantua, it was Venice that swiftly emerged as the principal centre for the development of instrumental music. Moreover, it was there that most collections of this music were printed all through the seventeenth century. It is curious to note that all these virtuosos obviously enjoyed sharing their success with their colleagues: for, alongside works for one or two violins and continuo, almost all the composer-violinists gathered together on this disc conceived sonate, canzone or sinfonie for ensembles of three or four violins. In addition, these compositions often make use of bichoral or echo effects. All this was happening as part of the discovery of that nascent virtuosity so characteristic of the Baroque period, as a result of which instrumentalists devised many new effects, such as the use of double stopping, and drew attention to their artistry with virtuoso runs akin to the extravagant language of the toccata.         

"This is a wonderfully entertaining disc, depicting the early history of Venetian violin music. As such, it is a most valuable addition to any collection of baroque Italian music. This is especially true when one takes in to account the performance of Clematis under its dual directorship of Brice Sailly and Stéphanie de Failly. Their playing is excellent throughout, something which is aided by a sympathetic acoustic and warm recorded sound. As I have already stated, Jérôme Lejeune’s booklet essay is exemplary, making this a most recommendable release."
MusicWeb, October 2019
"The intelligence of the programming is backed up by the performances, which are stylish and engaging."
Gramophone, December 2019