Daniel Muller-Schott ranks among the most distinguished cellists of our era, captivating audiences on the world's leading concert stages. In this remarkable recording, Daniel Muller-Schott blends masterful cello artistry with a deeply personal musical journey. Together with Irina Zahharenkova and Anderson Fiorelli, he brings works by Bach, Vivaldi, Geminiani and Boccherini to life - performed on the very harpsichord his mother played, whose sound has accompanied him since childhood. The sonatas unfold with a captivating mix of Baroque elegance, emotional warmth and technical brilliance. Each interpretation reflects intimacy, nostalgia and the timeless power of music. An album that resonates: authentic, poetic, and radiant with Baroque expressiveness.

Luigi Boccherini composed just a single set of sonatas, Op.5, specifically for violin and piano. However, his commercial celebrity and his artistic reputation at the time, as a composer considered in the same breath as Mozart and Haydn, encouraged publishers to commission arrangements of other works. Such arrangements include this set of Sonatas published in London in 1780, made by Thomas Billington but admitted to the catalogue of Boccherini's works as G34-39. Igor Ruhadze and Alexandra Nepomnyashchaya have made the first ever complete recording of this set as a sequel to their 5CD set of Boccherini sonatas (96612) issued by Brilliant Classics in 2023. 'Looking forward to the sequel!' concluded the review in Diapason of that set, after praising the stylish spirit of musicianship and authenticity in the playing of both artists. Compared to their rivals on record, remarked the reviewer, 'the seduction is more demonstrative, the contrasts more accentuated, the sensuality and the feeling more showy.' Today, as Rudolf Rasch's booklet note remarks, we may prefer original works over arranged works; in the 18th century, such a preference was unknown. No one looked down on them. In fact, they made a composer's music accessible for those who could not perform them in their original format. There was hardly a format more accessible for music-making among friends than the violin sonata, in which the piano would take the lion's share of the harmony from the original work, with the principal melody line assigned to the violin. As well as these violin sonatas, Thomas Billington arranged Corelli's concerti grossi for solo keyboard, and composed a good deal of his own music. In these sonatas, he drew from Boccherini's Trios Op.4 and Op.6, Quartets Op.8 and Quintets Op.10. He was in any case emulating the example of Boccherini himself, who made several such arrangements. As always with Boccherini, there is no shortage of attractive melodies and upbeat, galant invention to contrast with the lyrical beauty of the slow movements. - Luigi Boccherini was born in the Italian city of Lucca in Tuscany, on 19 February 1743, the son of Leopoldo Boccherini, a cellist and double-bass player. The young Luigi received his first music lessons from his father and at the Seminario di San Giovanni in Lucca. The cello was to become his instrument. At the age of ten, he was apparently already so advanced that his father sent him to Rome for further studies at the end of 1753, where he possibly remained until 1756. Apart from a brief period in Vienna around 1760, he was in Lucca until he set out to Paris (perhaps the major musical centre of the time) in the spring of 1768. Later that year he would go to Spain, where he would remain for the rest of his life until his death on 28 May 1805. - This new recording is the second volume of the complete violin sonatas, works in which the pianoforte plays a significant role next to the solo violin. - Critical praise for violinist Igor Ruhadze and pianist Alexandra Nepomnyashchaya: 'The early-music world needs more performers like Igor Ruhadze... This is some of the most accomplished historically informed violin playing I have heard in a long time.' Fanfare (Geminiani, 96524). 'Nepomnyashchaya provides a lesson in how one may realize such sonata bass lines. Her accompaniment is varied in texture and detail, balancing right-hand countermelodies with arpeggiated chordal washes of sound and heavy block chords at cadences. Like Ruhadze, she is a consummate specialist in Baroque style and practice.' - 'These musicians make a strong case for the violin-keyboard duo as an artistic medium. 'Strongly recommended for the music itself and for the dedicated, exciting performances.' Fanfare (Locatelli, 94376).