Duello d’archi a Venezia Chouchane Siranossian, Venice Baroque Orchestra & Andrea Marcon

• Francesco Maria Veracini (1690 - 1768): Concerto à otto stromenti in D Major:
• 1 Veracini: Concerto à otto stromenti in D Major: I. Allegro 08:07
• 2 Veracini: Concerto à otto stromenti in D Major: II. Largo 04:11
• 3 Veracini: Concerto à otto stromenti in D Major: III. Allegro 06:33
• Pietro Locatelli (1695 - 1764): Concerto in C Minor, Op. 3 No. 2:
• 4 Locatelli: Concerto in C Minor, Op. 3 No. 2: I. Andante - Capriccio 10:04
• L'arte del violino, Op. 3:
• 5 Locatelli: L'arte del violino, Op. 3: Violin Concerto No. 2 in C Minor: II. Largo 04:13
• Concerto in C Minor, Op. 3 No. 2:
• 6 Locatelli: Concerto in C Minor, Op. 3 No. 2: III. Andante - Capriccio 07:41
• Giuseppe Tartini (1692 - 1770): Violin Concerto in F Major, D. 61:
• 7 Tartini: Violin Concerto in F Major, D. 61: I. Allegro 06:51
• 8 Tartini: Violin Concerto in F Major, D. 61: II. Grave 06:46
• 9 Tartini: Violin Concerto in F Major, D. 61: III. Allegro 06:35
• Antonio Vivaldi (1678 - 1741): Violin Concerto in D Major, RV 208:
• 10 Vivaldi: Violin Concerto in D Major, RV 208: I. Allegro 05:27
• 11 Vivaldi: Violin Concerto in D Major, RV 208: II. Grave - Recitativo 02:38
• 12 Vivaldi: Violin Concerto in D Major, RV 208: III. Allegro 07:18
• Total Runtime 01:16:24

Info zu Duello d’archi a Venezia

"Für diese Aufnahme haben wir einen imaginären 'Kampf der Bögen' zwischen Vivaldi, Veracini, Tartini und Locatelli, den 'vier Musketieren' der Violine im Venedig der ersten Hälfte des 18. Jahrhunderts, inszeniert", so Chouchane Siranossian und Andrea Marcon. "Corelli starb 1713 und übergab die Nachfolge an seine Erben... Venedig wurde in der Folge zum Schauplatz gnadenloser Rivalitäten. Die Geige wurde zu einem Instrument der Konfrontation, zu einer idealen Waffe, um Virtuosität und technisches Können zu demonstrieren. Das oberste Ziel des Spielers war es, den Zuhörer zu verblüffen und seine eigene Virtuosität zu demonstrieren, was dazu führte, dass gewisse narzisstische Tendenzen des Künstlers oft übertrieben wurden." Chouchane Siranossian, deren Virtuosität von der Sunday Times als "teuflisch" beschrieben wurde und die laut Classica mit ihrer Tartini-Aufnahme (Alpha596, Choc) "den Nagel auf den Kopf getroffen" hat, ist die ideale Interpretin dieser Hochrisiko-Konzerte, bei denen sie von Andrea Marcon und seinem venezianischen Ensemble frisch und kenntnisreich unterstützt wird.

Chouchane Siranossian, Violine
Venice Baroque Orchestra
Andrea Marcon, Dirigent

Chouchane Siranossian
The French violinist Chouchane Siranossian is one of the most engaging talents of her generation and has firmly established her reputation in historical performance as well as in modern music. Her deep knowledge of historical performance practices along with her exceptional virtuosity opens a new dimension for the interpretation of her vast repertoire.

Born in 1984 in Lyon to a musical family, she began her musical studies in Romans’ Conservatoire de Musique (France) where she obtained the Prix d’Excellence. Simultaneously, she was taught by the great Master Tibor Varga in Sion until 1999. The following year she was admitted in the Conservatoire National Supérieur of Lyon in the class of Pavel Vernikov. Shortly after, she started to study with Zakhar Bron at the Zürcher Hochschule der Künste. There she graduated with a soloist diploma in 2007 with the highest distinctions.

Following her studies, she won the audition for solo-violin and concert master of the Symphonic Orchestra of Sankt Gallen (Switzerland). When she met Reinhard Goebel in 2009 she spontaneously decided to study the baroque violin and historical performance practice. She worked intensively with him at the Mozarteum in Salzburg and ever since has been a regular collaborator as both soloist and concert master. Strong with her encompassing knowledge of the sources combined with her virtuosic interpretation on historical instrument she delivers thrilling performances that are acclaimed by the public and the press.

As both soloist and concert master, she has played with numerous orchestras, including Staatskapelle Dresden, Deutsche Kammerphilharmonie Bremen, Budapest Festival Orchestra, Concerto Köln, Les Musiciens du Louvre, Hofkapelle München, Münchener Kammerorchester, Collegium 1704, and Anima Eterna. She is founder of the ensemble Les Racines du Temps and leader of Ensemble Esperanza Liechtenstein.

She has played with Bertrand Chamayou, Philippe Bianconi, Michel Béroff, Daniel Ottensamer, Benjamin Engeli, and Thomas Demenga, as well as historical performance specialists such as Jos van Immerseel, Philippe Herreweghe, René Jacobs, Reinhard Goebel, Andrea Marcon, Marc Minkowski, Václav Luks, Christoph Prégardien, Andreas Spering, Dorothee Oberlinger, Alexis Kossenko, Philippe Jaroussky, Christophe Coin, Rudolf Lutz, Valer Barna-Sabadus, Rüdiger Lotter, Giuliano Carmignola, Roy Goodman, Michael Hofstetter, and Thomas Hengelbrock. Her great interest in contemporary music is reflected by her co-operation with various composers such as Bechara El Khoury, Daniel Schnyder, Marc-André Dalbavie, and Eric Tanguy.

She is regularly invited to the major concert halls such as Salle Gaveau and La Philharmonie de Paris, Concertgebouw Brugge, Tonhalle Zürich, Kölner Philharmonie, Gewandhaus Leipzig, Semperoper Dresden, Herkulessaal, Kaisersaal, and Prinzregententheater in Munich.

er recordings as soloist as well as chamber musician have been numerously rewarded. Thus, her first solo-CD Time Reflexion received the Diapason Découverte; L‘Ange et le Diable, a duo-CD with conductor and harpsichordist Jos van Immerseel is rewarded with the International Classical Music Award in the category Baroque Instrumental.

Chouchane plays a baroque violin by Giuseppe and Antonio Gagliano (as a loan by the Greifenberger Institut) and a Niccolò Amati provided by the Boubo-Music foundation.

Booklet für Duello d’archi a Venezia