by Ken Meltzer
Published July 20, 2025
Johan Helmich Roman: Assaggi for solo violin. Alison Luthmers, violin. Rubicon RCD1140
A new release from Rubicon Classics, a British label, features Canadian-American Baroque violinist Alison Luthmers performing four so-called “Assaggi” — a set of violin studies by Swedish composer Johan Helmich Roman (1694-1758). Solo violin music from this era has a rich lineage, from Biber and Bach to Telemann and probably Tartini, so this infrequently heard music by Roman is especially intriguing.
Known as “the father of Swedish music,” Roman was influential in his native land as a composer, instrumentalist, and leader of prominent music organizations. He spent time in the music capitals of Europe, absorbing a cosmopolitan, Italianate style from composers including Bononcini and Geminiani. From around 1715-21, studying and playing in London, Roman was a member of Handel’s Royal Academy of Music opera orchestra at the King’s Theatre, and was likely one of the 50 musicians who performed Water Music on a barge on the Thames in 1717. No wonder he was later known as “the Swedish Handel.”
Among Roman’s compositions are approximately 20 inventive works, from the 1730s, for solo violin given the composer’s own title: Assaggi. Common translations for the Italian word assaggio are “tasting” or “sampling.” In her liner notes, Alison Luthmers adds “essay,” “experiment,” “study,” and “attempt.” (Now living in Sweden, the violinist says it was this curious title that initial piqued her interest in the composer.)
As Luthmers writes, Johann Helmich Roman’s Assaggi explore “varying forms — some are full-fledged works with four or five movements, while others are just fragments.” The four Assaggi that Luthmers performs on this recording — in E minor (BeRI 312), A Major (BeRI 301), G minor (BeRI 314), and G minor (BeRI 320) — comprise, respectively, five, four, four, and three movements.
It appears that Roman preferred to assign neither movement titles nor tempo markings to his Assaggi. Among the 16 movements performed by Luthmers on this recording, only two (the second and fourth in the G minor Assaggi, BeRI 314) contain tempo markings. Several of the movements lend themselves to a leisurely approach. Luthmers views the elements of Roman’s Assaggi as an invitation for exploration and improvisation by the performer. Luthmers explains: “I took the liberty of adding cadenzas as well as repeats or da capos in many of the pieces.” The repeats afford Luthmers ample opportunity to explore ornamentation, as well as a variety of instrumental sonorities, dynamics, and articulation. Luthmers’ beguiling flexibility of phrasing also lends her performances an improvisational character.
The recording was made in two sessions at Copenhagen’s Garnisons Kirke. Luthmers praises the Church’s acoustics for providing the opportunity “to explore the extremes of my instrument.” The variety of tone and dynamics Luthmers coaxes from her Baroque violin is impressive. But it is the sheer beauty and richness that provide the most profound and gratifying impression. These superb performances are documented in recorded sound that offers an arresting balance of presence, detail, and resonant warmth. A marvelous recital.
Ken Meltzer was program annotator for the Pittsburgh and Atlanta Symphony Orchestras, and still authors program notes for several U.S. orchestras, as well as reviewing recording for various publications.
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