by Angela Sutton

With all the world-famous symphonies and soloists trotting through Manhattan, it is good to be reminded of the efforts of classical musicians still taking their early steps. One of those took place on Wednesday night in the wood-paneled, second-floor salon of the Italian Cultural Institute on Park Avenue, where violinist Emanuele de Biase Corneli presented an hour-long program of meaty violin standards.

Corneli's instrument for the evening was a 1657 Giovanni Pietro Caspani violin—the sole violin and one of only a handful of extant instruments from the maker. It had a light, fleet sound, with sharp differentiations along its range. The ICI chose this recital to close out its year of Italian culture in the United States, and also drew the attention of Italian network television (RAI), who interviewed the soloist.

The program was split between works for solo violin and works for violin and piano. In the former category, Bach made an appearance in the form of excerpts from his C Major Sonata: the "Adagio" and "Fugue." The fugue, in particular, does not receive frequent performance because of its length and virtuosity, making it extremely challenging for both soloist and audience. Other selections included several fine readings of selected Paganini Caprices (nos. 9, 13, 14, and 24) and the recently composed Masochist's Tango by local composer Whitney George. Corneli indulged himself in this work's black humor, a sharp and bracing contrast from the more Apollonian works on the rest of the program.

Pianist Brian Lam joined Corneli for the lovely "Spring" Sonata of Beethoven, in a tightly controlled and translucent performance of this milestone work. The pair rejoined at the end of the night for the lovely "Meditation" from Massenet's Thais, a fitting benediction for the assembled listeners.