With “L’Aurore” the German violinist Carolin Widmann also shows her versatility in a solo recital. As is well known, she also presents the luxurious sound of her Guadagnini instrument for solo concerts.
This time she wanted to stretch the arc of her solo repertoire particularly wide and began recording with Hildegard von Bingen and her antiphon Spiritus sanctus vivificans vita, a different kind of serene music than one imagines from the physical and mental health advocate of mankind.
Her compositional creativity is inspired by the healing powers of music, which Widmann was able to express clearly in her statement.
But the works of Eugène Ysaye and George Enescu are more fascinating with their future-oriented possibilities of expression in the violin literature – especially with the mentioned construction of Widmann’s violin, which surpasses all the preciousness of the sound.
Naturalness is the top priority for Carolin Widmann and her service to art. She also proves this in the remarkably interpreted Partita No. 2 in D minor by Bach, a recording with which a nicer rounding off of the CD might not be imagined. One should acquire it and decorate one’s house archive with it if only because of the unusual sound spectrum that one breathes in from a Guadagnini.
