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Through this exciting recording, theviolinist Fabio Biondi pursues hisexploration of the seventeenth- andeighteenth-century repertoire for soloviolin. Two years after his completerecording of Johann Sebastian Bach'ssolo Sonatas and Partitas (V 5467), helands on entirely unknown territory,the Assaggi by the Swedish composerJohan Helmich Roman (1694-1758).Rarely lasting more than twelveminutes, the Assaggi is thus afascinating melting-pot of multipleaesthetics in vogue in Europe at thebeginning of the eighteenth century.Fabio Biondi champions this littleknown territory of the European latebaroque with a voracious generosityand highly eloquent sense of phrase.In his own time Roman was animportant figure in the violin world. Hiscareer led him to the four corners ofEurope, affording him the opportunityto meet many crucially important figureson the German and more southernmusical stages, composers as well asrenowned performers, especially whenhe was in Italy, where he visited Tartini.He also played with Handel. In Dresdenhe met Pisendel, then dazzling everyonewith his playing. In Hamburg, heprobably met Telemann, whoseFantasias for Solo Violin, a highly creativeand secret aspect of the great NorthGerman baroque master's work, hestudied intensely.All of these encounters had a long-terminfluence on Johan Helmich Roman'sstyle, a different and important take onles goûts reunis. If the highly polyphonicstructures of the Assaggi naturallyreminds us of the Swede's Saxon origins(BeRI 314), if their study-like naturewillingly brings to mind the twenty-fourFantasias of Telemann, works as muchintended for professional musicians asfor accomplished amateurs (the lastmovement of BeRI 310), the harmonies,which like the melodic outlines inRoman's work are subtly tinged with anItalianate flavour, clearly recallcontrasting works by Tartini (the secondpart of BeRI 320 for instance, or againthe Andante of BeRI 324).