Vieuxtemps' way of playing fostered purity of intonation, total technical command, broad tone and a strong power of expression, all of which remain the representative qualities of the Belgian violin school. Contrary to Paganini, Vieuxtemps never used virtuosity for its own sake. Ysaÿe used to stress that Vieuxtemps’ motto was not to play a stroke for its own sake, but to sing, always to sing. When listening to the works presented here, we can appreciate Vieuxtemps' debt to Mozart, Couperin, Bach and Haydn. His compositions combine Paganini’s virtuosity, Kreutzer’s classicism and Bach’s polyphony. Francesco Parrino’s main intention is to restore the brilliant character of Vieuxtemps’ works for solo violin which have hitherto been neglected heading a significant revival of the Belgian violinist’s music.