You know there has to be a good story when an artist appears in photos either with a stunning Baroque violin and bow or with a fencing mask and foil. Sadly, listeners will have to make up their own story for Croatian violinist Laura Vadjon and this curious choice of props. Perhaps the foil is a metaphor for the deftness and pointed articulation of Vadjon's bow arm, which, in these very early and relatively unknown examples of violin solo works, is much more of an expressive tool than the left hand. At first, Vadjon's energy and powerful articulation can be mistaken for over-aggressiveness. But listening to a few more tracks (which are curiously measured in milliseconds) shows that she is not actually overdoing anything. In fact, she's doing everything she can with her ample and refined technique to breathe life into her selected program, which at times features rather repetitive, dull compositions. Sound quality throughout the album is quite nice, although there are obvious differences between tracks when instrumentation changes, a fact that is a little jarring when listening straight through. Vadjon is joined by harpsichordist Peter Lonnerberg, whose playing is equally refined but whose sound is often unduly pushed to the background where at the very least it should be on the same level with the violin.
AllMusic Review by Mike D. Brownell