Luigi Alberto Bianchi was an esteemed Italian violist and bass vocalist, born on January 1, 1945, in Rimini, and he passed away in Rome on January 3, 2018. His unique ability to excel on both the viola and violin sets him apart from many internationally recognized string musicians. Coming from a family steeped in musical tradition, Bianchi began studying the violin at the age of six. However, it was the viola that secured him a Ricordi Scholarship to the Rome Collegio di Musica, where he notably performed Bartók’s Viola Concerto at his graduation exam at the age of nineteen.

Bianchi held the position of principal viola with the Orchestra Sinfonica della RAI in Rome and was a member of the Quartetto di Roma. He launched a solo career that garnered significant attention, particularly in the UK during the late 1960s. In 1973, he was appointed Professor of Viola at the University of Milan and made history by recording Paganini’s Sonata per la gran viola for the first time according to the original score, employing a 1595 Amati instrument without alterations to simplify complex passages and without utilizing a fifth (E) string. His discography also includes recordings of Max Reger’s three viola suites, and in 1980, he collaborated with pianist Bruno Canino on a selection of works, shortly before the theft of his cherished Amati.

This loss prompted Bianchi to return to the violin, leading him to acquire a 1692 Stradivarius in London, followed by the renowned 1716 ‘Colossus’ Stradivarius, which was stolen in 1998. Throughout his career, Bianchi engaged in teaching across various institutions in Europe and the USA, in addition to conducting. He gained recognition as an authority on Paganini and authored a book on Alessandro Rolla (1757–1841), who was Paganini's sole teacher.

As a signed artist with the Italian Dynamic label, Bianchi recorded extensively on both viola and violin, often featuring both instruments on the same album. His violin performances, showcased in works such as Rota’s Improvviso (1997) and Hummel’s Rondo brillant (1998), are noted for their richness, precision, and assertiveness. His playing style is characterized by a tight, intense vibrato, minimal portamenti, and a percussive approach to staccato passages, frequently executed off the string as either spiccato or ricochet. This vitality is evident in his rendition of Paganini’s Sonata (1973), which, although vibrant, occasionally lacks a definitive tempo and presents challenges in tuning some of the difficult double-stops. His viola transcription of the finale from Paganini’s Violin Concerto No. 2 (1980) can be somewhat harsh at times, yet Bianchi's command of staccati remains impressive.

Bianchi's contributions to the music of Nino Rota (1911–1979), best known for his film scores, include a notable amount of repertoire. While not all of it meets with success, the Viola Sonata No. 2 (1997) stands out as a beautifully lyrical composition that showcases Bianchi’s rich cantabile playing. His versatility is evident, though his tone is better suited to certain works than others. The performance of Sarasate’s Op. 23 Spanish Dances (1973) is delivered with charisma, and his tight vibrato mirrors that of Sarasate himself, lending a sultry passion to the interpretation. In contrast, Ravel’s Rapsodie espagnole (‘Habanera’ movement, recorded in 1973) is rendered with a delicate touch, though it may be perceived as a bit slow, yet it is undoubtedly thoughtful.

Bianchi's performances convey Reger’s deliberately Bach-like textures with clarity and classical phrasing. The solo Viola Suite No. 1 (1977) begins with a remarkable breadth of tone, while the moto perpetuo finale is both controlled and thrilling. Overall, Bianchi emerges as a commanding musical figure and an exceptional string player, equally adept on both the violin and viola. (c) (p) by Luigi Picardi