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W.A. Mozart Sinfonia concertante for violin and viola

Igor Ruhadze & Erini Stratigopoulou, the Bach Orchestra of the Netherlands


The Sinfonia concertante in E flat for violin and viola, K364, is an iconic work for many Mozart lovers, and arguably the greatest music he wrote in Salzburg. It will be performed four time in September 2019 all over the Netherlands.

250 Jubiläum der Pfarrkirche St. Philippus und Jakobus in Mittelstrimmig

Sonntag, 25. August 2019, 

Pfarrkirche Mittelstrimmig/Hunsrück, 15 Uhr

J. S. Bach, “Der Herr denket an uns” BWV 196
J. S. Bach, Brandenburgisches Konzert Nr. 5
G. F. Händel, Arien und Chöre aus Oratorien und Opern
W. A. Mozart, Missa brevis in d-moll KV 65, Ave verum KV 618
P. P. Sales, Sub tuum praesidium

Julie Grutzka, Sopran
Ulrike Malotta, Alt
Christian Rathgeber, Tenor
Thilo Dahlmann, Bass

Igor Ruhadze, Violine & Ensemble Violini Capricciosi,  Katja Pitelina, Flöte

Biber Complete Sonatas

I was impressed with Igor Ruhadze's survey of Locatelli's music, also for Brilliant Classics. It made me interested to see how he tackled Biber's sonatas. I am glad to say that, whilst it may not be my first choice in this fine music, Ruhadze does turn in a good performance, one which in many ways can be recommended.Overall, even if I prefer the other readings at times, the playing of Igor Ruhadze and the Ensemble Violini Capricciosi is excellent, I particularly like the sound of Felicity Goodwin’s organ playing and the instrument itself. She also wrote the brief but informative booklet notes. This is a useful set and one which I am happy to welcome onto my CD shelves. 


Stuart Sillitoe

The first and only Complete Locatelli Edition ever!

......Igor Ruhadze and his group Ensemble Violini Capricciosi have dedicated themselves to recording Locatelli’s works for some years now. Careful research along with a genuine enthusiasm for the overlooked composer’s works have led to a fine set of recordings, previously described by Gramophone as ‘brilliantly and at times breathtakingly performed’. The release also includes new recordings of the composer’s Concerti Grossi Opp. 1 & 7 and Introduzioni Teatrali Op.4, as well as the haunting Sinfonia funebre, a work to mark the death of an unknown woman in Rome. The vibrant playing of the Ensemble Violini Capricciosi is complemented by Musica ad Rhenum, led by highly acclaimed flautist Jed Wentz, who perform the Flute and Trio Sonatas. .....



American Record Guide, 

......I. Ruhadze also performs the 24 Capriccios in the manner Locatelli intended - inserted like cadenzas at the ends of the fast movements (I and III) of each concerto. Igor Ruhadze is a skilled violinist, certainly equal to this very technically demanding repertory. His fingers fly through the Capriccios; slow movements take on an intense, evocative timbre.......



...... ‘brilliantly and at times breathtakingly performed’...... 


Robert Maxham. Fanfare magazine

.......the Ensemble Violini Capricciosi  bring a lushness to the Locatelli music itself. The ensemble sounds energetic and sprightly in such movements as Sonata’s ! Vivace-they dont create any impression of heaviness.The ensemble is smoothly elegant in passages.Strongly recommended for the music itself and for the dedicated, excoting performances.......

Musica An Rhenum: Jed Wentz, Igor Ruhadze, Job ter Haar, Cassandra L. Luckhardt, Michael Borgstede



The bubbling melodies and rhythms that run through all three CDs, the charisma of the soloists, the elan of the allegros (which borders, from time to time, on a Goebelesque frenzy) and an entirely youthful vigor paint an ardent and lyrical portrait of Telemann, especially in the more extended and attractive Nouveaux Quatours. Here Jed Wentz unleashes an unbridled, loquacious and enchanting virtuosity: listen - one example among 20 others - to the Modere and the Pas Vite of the fifth quartet and savor his luminous song, his arabesques, his faultless style.

Et’cetera KTC 1312


"Trios & Concerto" 

Clémence Comte - recorder

Igor Ruhadze - violin



This attractive collection presents six of Telemann’s trio sonatas.The instrumental sonorities are gently sensuous, enhanced by the constant presence of the theorbo. The recording is resonant yet crystal-clear: I have seldom heard a recording of baroque chamber music in which the harpsichord’s melodic contribution emerges so naturally as an equal strand in the texture. There are few bold gestures here, yet only on one occasion (the violin’s brilliant passages in the Concerto’s final Vivace) did I wish for a more extrovert, flamboyant approach. Even there, the players’ technical assuredness and natural musicality are never in doubt. Throughout, they reveal a clear understanding of the music’s stylistic and affective demands, and they communicate the shape of the movements (and of individual phrases) with apparent spontaneity and captivating charm.