Tartini Solo Violin Sonatas
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Tartini
Genre:
Instrumental
Label: Harmonia Mundi
Magazine Review Date: 5/1998
Media Format: CD or Download
Media Runtime: 69
Mastering:
DDD
Catalogue Number: HMU90 7213
Tracks:
| Composition | Artist Credit |
|---|---|
| Sonata for Violin and Continuo, 'Devil's Trill' |
Giuseppe Tartini, Composer
Andrew Manze, Violin Giuseppe Tartini, Composer |
| (50) Variations on a Gavotte by Corelli |
Giuseppe Tartini, Composer
Andrew Manze, Violin Giuseppe Tartini, Composer |
| (12) Sonatas and Pastorale for Violin, Movement: Pastorale in A |
Giuseppe Tartini, Composer
Andrew Manze, Violin Giuseppe Tartini, Composer |
| Sonata for Violin and Continuo |
Giuseppe Tartini, Composer
Andrew Manze, Violin Giuseppe Tartini, Composer |
Author: Nicholas Anderson
The romantic connotations of Tartini’s Violin Sonata in G minor, the Devil’s Trill, deriving from the composer’s own account of an appearance by the devil in a dream, have contributed towards making it one of the great morceaux favoris of the nineteenth and twentieth centuries. It is, furthermore, just about the only remaining piece of baroque music where a piano accompaniment can still be countenanced without uniformly raised eyebrows. Some traditions do, indeed, die hard. But, of course, Tartini never intended anything of the kind; in fact, he probably never envisaged a keyboard continuo part at all, since none of his surviving autographs contains a figured bass for keyboard realization. They do, however, mostly include unfigured bass parts though, as Tartini himself remarked, he provided them, often as an afterthought, and more for reasons of convention than any other. Andrew Manze sees this as a justification for playing all the pieces in his programme without bass accompaniment. On the whole the experiment works well, since the expressive content and structural puissance of the music lies foremost in Tartini’s melodic line. There are moments, however, where harmonic support from the bass is required, and at such times, above all in the Devil’s Trill Sonata, Manze has had to introduce chords in the violin part to compensate for the absence of a cello.
Manze’s athletic technique, his musical sensibility and perhaps, too, his engaging sense of fun, ensure fascination and entertainment in equal measure. The ‘diabolical’ finale of the G minor Sonata has rhythmic poise, expressive delicacy and commendable virtuosity, and few admirers of this challenging piece will feel seriously compromised by the absence of a string bass. None will regret the passing of the piano in this context. Music schools, conservatories and competition organizers, please note. A stimulating release, beautifully recorded, and rich in fantasy.'
Manze’s athletic technique, his musical sensibility and perhaps, too, his engaging sense of fun, ensure fascination and entertainment in equal measure. The ‘diabolical’ finale of the G minor Sonata has rhythmic poise, expressive delicacy and commendable virtuosity, and few admirers of this challenging piece will feel seriously compromised by the absence of a string bass. None will regret the passing of the piano in this context. Music schools, conservatories and competition organizers, please note. A stimulating release, beautifully recorded, and rich in fantasy.'
Tartini Solo Violin Sonatas
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