Thanks to his Devil's Trill, Giuseppe Tartini was one of the few Italian Baroque names known to a general classical listenership a couple of generations ago. He was eclipsed by Vivaldi and the other virtuoso violinists of the Italian school, but he has begun to benefit from something of a revival; various recordings have appeared, sans the Devil's Trill. This one is part a series covering Tartini's voluminous output; with two CDs worth of violin concertos, it includes several world premieres. This is good news, for Tartini ...
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Thanks to his Devil's Trill, Giuseppe Tartini was one of the few Italian Baroque names known to a general classical listenership a couple of generations ago. He was eclipsed by Vivaldi and the other virtuoso violinists of the Italian school, but he has begun to benefit from something of a revival; various recordings have appeared, sans the Devil's Trill. This one is part a series covering Tartini's voluminous output; with two CDs worth of violin concertos, it includes several world premieres. This is good news, for Tartini does not sound much like Vivaldi (beyond a few broad strokes, like opening phrases in octaves), Veracini, or Geminiani. He has a claim to stylistic progressiveness with the simple melodic orchestral material with which the outer movements of the concertos begin, but the simplicity doesn't carry through the movement: it is used only to set the stage for the violin's entrance and to give it the maximum impact. The slow movements are heavily ornamented but quite fluent. One question...
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