Francesco Maria Veracini (1690-1768) crossed between the main European cultural centers of the 18th century to show his instrumental mastery and virtuosity as a violinist: Florence, London, Dresden, Venice... Everything seems to indicate that he had an eccentric and arrogant character, with enough intensity to make his way of playing something completely genuine. According to the musicologist Charles Burney, around 1733 there was no concert in London in which he did not participate with a violin solo. Giovanni Maria Casani, one of his teachers, expressed his opinion about him and his father: “Playing the violin together. One, old and full of honors, the other young and wanting to show the ease with which he overcame any slightest obstacle in the score. It was wonderful for everyone to listen to them, because the heart, and not just the bravery, guided and accompanied the fingers and the bow of these virtuosos”.

The collection he published in 1716 has twelve sonatas for violin or recorder and basso continuo, a "small essay on my musical studies." It is dedicated with much gratitude to the Elector Frederick Augustus I of Saxony, who supported Veracini to secure a position as a violinist at the Dresden court despite the fact that no violinist was needed at the time, a circumstance that produced more than notable tensions with Volumier, the conductor of the Dresden orchestra.

Here, Muriel Rochat Rienth performs the solo lines on recorder.

Florentine, born Francesco Maria Veracini (1690-1786), was considered one of the greatest violin virtuosos of his day. Periods of residence in London, Dusseldorf, Venice, and Dresden brought the eccentric musician international fame. Amongst his extensive output,� his Sonate Accademiche Op. 2 (London/Florence 1744) for violin and basso continuo are the best known today.�The character of the Sonate Accademiche is defined by a peculiar combination of the intellectual, the virtuosic, and the highly expressive.�Despite the technically demanding writing for the violin, Veracini's masterfully idiomatic approach to his own instrument means the virtuosity flows with a natural ease and playfulness.