Music (CD)

The "Di Martinelli" Manuscript

Violin sonatas of the late 17th century

Eva Saladin

  • Serie
    GLOSSA / Schola Cantorum Basiliensis
  • Publisher
    Glossa Music
  • Year
  • CD-Produktionsnummer
    GCD 922521
  • Type
    Music (CD)

Eva Saladin (violin)

Johannes Keller (harpsichord)
Sebastian Wienand (harpsichord)
Daniel Rosin (violoncello)


violin music; late 17th century ; sonata

Violin sonatas of the late 17th century


  • Johann Christoph Pez (1664-1716): Sonata 30 (G minor)
  • Gian Carlo Cailò (1659-1722): Sonata 3 (A major)
  • Johann H, von Weissenburg (c1660-c1730): Sonata 21 (D minor)
  • Johann Heinrich Schmelzer (1620/23-1680): Sonata 20 (B minor)
  • Carlo Ambrogio Lonati (1645-1710/15): Sonata 8 (G minor)
  • Pietro Paolo Cappelini (?-?): Sonata 24 (B major)
  • N. Goor (?-?): Sonata 10 (F major)
  • David Petersen (c1651-1737): Sonata 1 (D major)

About this album

The so-called Di Martinelli Collection is preserved in the Catholic University of Leuven (Belgium), and contains a total of sixty-five manuscripts and thirty-two prints, including a remarkable manuscript with thirty-two late 17th-century violin sonatas from which the works on the present recording are taken. Collected in the manuscript are challenging pieces of various origins, whereby three regional focal points can be ascertained: composers of Flemish-Netherlandish descent (Petersen, Goor), composers from South German/Habsburg regions (Albicastro, Schmelzer, Pez, Wentzely, Finger and erroneously Biber) and several Italian composers (Cailò, Lonati, Capellini).

All of the musicians on the present recording studied at the Schola Cantorum Basiliensis and represent a new generation in the field of historical musical practice, a generation which combines high technical mastery with curiosity for the historical fundamentals and joy in experimentation. Eva Saladin, of Swiss-Dutch descent, is meanwhile one of the most renowned representatives of her generation on the baroque violin. The basso continuo team joing her for this project (Johannes Keller, Sebastian Wienand and Daniel Rosin) includes the use of two harpsichords, a practice that shows off fascinating possibilities in terms of sound and harmonic and figurative ellaboration.