From the first shimmering arpeggios across the strings, mirroring the waters of Venice, in Torelli’s previously unrecorded E minor sonata, it is clear that this is something special: a highly characterised, sharply imagined feast of baroque violin playing. Thibault Noally’s command of this improvisational style, whose flights of fancy are far removed from the regularity imposed by Corelli, is complete. Discoveries by Dall’Abaco and Bonporti sit next to more formal sonatas by Albinoni and Vivaldi, and Noally is perfectly matched in two glorious chaconnes by fellow violinist Claire Sottovia. Maybe a harpsichord piece or two would have been welcome for variety, but this is a compelling evocation of a vanished era.
