For those unaware, through this exciting recording, the violinist Fabio Biondi pursues his exploration of the seventeenth and eighteenth century repertoire for solo violin.

Two years after his complete recording of Johann Sebastian Bach’s solo Sonatas and Partitas (V 5467), he lands on entirely unknown territory, the Assaggi by the Swedish composer Johan Helmich Roman (1694-1758).

Rarely lasting more than twelve minutes, the Assaggi is thus a fascinating melting-pot of multi pleaesthetics in vogue in Europe at the beginning of the eighteenth century. Fabio Biondi champions this little known territory of the European late baroque with a voracious generosity and highly eloquent sense of phrase.

In his own time Roman was an important figure in the violin world. His career led him to the four corners of Europe, affording him the opportunity to meet many crucially important figures on the German and more southern musical stages, composers as well as renowned performers, especially when he was in Italy, where he visited Tartini.

He also played with Handel. In Dresdenhe met Pisendel, then dazzling everyone with his playing. In Hamburg, he probably met Telemann, whose Fantasias for Solo Violin, a highly creative and secret aspect of the great North German baroque master’s work, he studied intensely.

All of these encounters had a long-term influence on Johan Helmich Roman’s style, a different and important take on les goûts reunis.

Roman: Assaggio per violino solo in C Minor, BeRI 310
I. Grave II. III. IV.

Roman: Assaggio per violino solo in G Minor, BeRI 320
I. II. III.

Roman: Assaggio per violino solo in B Minor, BeRI 324
I. II. Larghetto III.

Roman: Assaggio per violino solo in D Minor, BeRI 311
I. II. III. IV.

Roman: Assaggio per violino solo in C Major, BeRI 303
I. II. III.

Roman: Assaggio per violino solo in A Major, BeRI 301
I. II. III. IV.

Roman: Assaggio per violino solo in G Minor, BeRI 314
I. II. Allegro III. IV. Tempo di Minuetto. Non troppo allegro

This astounding work of musical art opens on Roman: Assaggio per violino solo in C Minor, BeRI 310, and the aching Grave, which turns flirtatious, before becoming lonesome, then finally playful.

The Roman: Assaggio per violino solo in G Minor, BeRI 320 trilogy begins sprightly, then becomes more sombre, before delightfully culminating, and then we get the three-parter Roman: Assaggio per violino solo in B Minor, BeRI 324, which begins with a sternly cultivated piece, then comes the melodic Larghetto, and the dedicated finale.

Up next is the quartet that makes up Roman: Assaggio per violino solo in D Minor, BeRI 311, its opener dutiful, then firmer, then it becomes affluent and then rather perky, before we get the bountiful Roman: Assaggio per violino solo in C Major, BeRI 303 (skittish, then sprightly, then engrossing).

The final two works are the quartet of Roman: Assaggio per violino solo in A Major, BeRI 301, which opens in an ambient mood, then moves into the whimsical, then becomes mirthful and thereafter even mischievous, the last work being Assaggio per violino solo in G Minor, BeRI 314 (which begins earnestly, then becomes exciting within Allegro, closing on an aching piece, the set culminating with the all-embracing Tempo di Minuetto. Non troppo allegro.

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