Francesco Maria Veracini

This Italian violinist ranked among the foremost practitioners of his instrument—perhaps even the single greatest—throughout his era. His technical command drew scant reproach, although critics sometimes found his bowing overly forceful. An arrogant and self-reliant figure, he accepted appointments in several cities yet consistently resisted serving anyone but himself, placing artistic independence above financial gain. His uncle and the theorist Casini provided his early training, while Vivaldi’s example left a clear mark on the violin works he produced. After holding a post in Dresden he resided in Florence from 1723 to 1733, devoting himself chiefly to sacred music. Between 1733 and 1738 he spent time in London, where he completed four operas: Adriano in Siria (1735), La clemenza di Tito (1737), and Partenio (1738). In 1758 he returned to Florence as maestro di cappella at St. Michele. Across his career Veracini wrote roughly sixty violin sonatas together with concertos, oratorios, cantatas, and songs; these sonatas exemplify the galant style with notable clarity and reveal the combined influences of both Vivaldi and Casini. He continued performing well into advanced age, at which point he publicly rejected homophonic textures.