I'm very grateful that Stringy introduced us to his playing of "Aria Amorosa", but Nicola Matteis composed FOUR whole books/volumes of "Ayres For The Violin" - beautiful Preludes, Allmands, Sarabands, Courantes, Gigues, Divisions, Double Compositions, etc... (Aria Amorosa is from Book 4)!
This is a GREAT way to sample Nicola Matteis's work - through these performances by the Arcadian Academy, "Aria Amoroso" (in Emin) is included:
According to Wiki:
Nicola Matteiss was the earliest notable Italian Baroque violinist in London.
Contemporaries described him as using a longer bow, with a new bow hold (closer to that used by modern players).
Knowing many of his customers were amateurs, Matteis tended to give precise instructions in the prefaces to his published Ayres, providing detailed notes on bowing, explanations of ornaments, tempos, and other directions. These notes have proved valuable resources for scholars reconstructing the performance practices of the time.
...definitely worth learning one of these!
Marco Uccellini was another important Baroque Violinist & Composer.
A lot of trills, but I notice BEAUTIFUL expression in bow strokes - varied pressure & speed, causing swells that propel me on a roller-coaster of waves in this music!
Here's more GREAT examples performed by the Arcadian Academy - a playlist of 18 Sonates by Marco Uccellini:
His [Uccellini] sonatas for violin and continuo contributed to the development of an idiomatic style of writing for the violin (including virtuosic runs, leaps, and forays into high positions), expanding the instrument's technical capabilities and expressive range. Like other 17th-century Italian sonatas, Uccellini's consist of short contrasting sections (frequently dances) that flow one into another.
It can be assumed from the highly idiomatic and virtuosic nature of Uccellini's violin compositions that he was himself a brilliant violinist. Besides introducing several technical innovations necessary to play his difficult music, he was an early popularizer of music written explicitly for solo violin and continuo; at the time, it was common for composers not to specify instruments in their works, preferring to write parts adaptable between instruments of similar ranges.
I'm personally drawn to the Sonate, arie et correnti, Op. 3: Aria VI sopra un balletto
All worth listening to if you aren't up to trying one, yet! 😊