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Classical - Released March 6, 2020 | Alpha

Hi-Res Booklet Distinctions Choc de Classica
After several recordings with Anima Eterna and Jos Van Immerseel, the French violinist Chouchane Siranossian tackles a programme of extremely virtuosic concertos that few Baroque violinists dare to face. Thanks to her technical gifts and to partners ideally suited to this repertory – the Venice Baroque Orchestra and its conductor Andrea Marcon, a specialist in the Italian Baroque style – she takes up the challenge with brio. This album is released to coincide with the 250th anniversary of Tartini’s death in 2020. Of special interest is a completely unknown and unpublished Concerto in G major, the manuscript of which was recently found by the musicologist Margherita Canale. © Alpha Classics
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Classical - Released September 25, 2020 | MUSO

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It is the music of this master that inspires noble feelings. Original in everything, his only laws are those of his genius. The sublime quality of his works means that all men consider him able to feel the truth. He has been able to rid music of its superficiality in order to serve its nature. He is known throughout Europe, yet cherished by few, just as few people are happy enough to distinguish the noise from feeling and expression. Such was the opinion, in 1752, of a thoughtful observer of Tartini. His assertion is readily transposable to our period, when the name of Giuseppe Tartini resonates with familiarity in the ears of music-lovers, whereas his music remains mysteriously little-known and underestimated. The fault probably lies with the inevitable Devil’s Trill, its celebrity, as deserved as it is overworked, obscuring a tremendous output of more than 130 sonatas. In rendering homage to the master of Padua on the occasion of the 250th anniversary of his death, the choice proved to be delicate given the abundance of music of constant and exceptional quality. David Plantier and Annabelle Luis have selected the 5 unpublished sonatas in this programme from Manuscript 9796, preserved in the Bibliothèque nationale de France, and taken from the Italian city in 1796 by Napoleon’s army as a prize of war. Four of these date from the latter years of Tartini. They all have in common an extreme virtuosity necessary for performance, yet also the necessity of a perfect mastery of the instrument for producing a natural, musical version, the reflection of the composer’s typical cantabile. David Plantier is without question the baroque violinist most suited for this mission, having been a passionate defender of Tartini and his music for years. Giuseppe Tartini often performed in duets with his cellist friend the abbé Vandini. The destiny of these two formidable musicians was indivisible, and it is this historic duet that the Duo Tartini aims to bring back to life; the violin and the cello give this richly diverse music a setting of velvet tones, they revitalise the beauty and modernity within so as to touch the hearts of contemporary listeners. © muso label
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Chamber Music - Released May 17, 2019 | Glossa

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In the course of his illustrious career, Fabio Biondi has nurtured a remarkable empathy with Italian music from across many centuries, but strikingly so with the early Baroque violin sonata repertory, the development of which was dramatically propelled into the future by Arcangelo Corelli with his Op 5 collection. It is this empathy possessed by Biondi which has inspired the Accademia Nazionale di Santa Cecilia in Rome (from its bowed instrument collection) to make him a loan of the precious 1690 “Tuscan” violin made by Antonio Stradivari, for this Glossa recording. Another skill possessed by Biondi is his deft assemblage of programmes, whether for concert or for recordings, and this new release of early eighteenthcentury violin works touches on the impact that Corelli’s music had on music-making in Dresden, Venice, Padua, London and Amsterdam, to name just a few of the destinations affected as the fame of “Arcangelo Bolognese” fanned out from Rome across Europe. With a continuo team from his Europa Galante ensemble (Antonio Fantinuoli, cello, Giangiacomo Pinardi, theorbo and Paola Poncet, harpsichord), Biondi plays sonatas by Vivaldi, Corelli, Geminiani, Tartini and Locatelli, and a Ciaccona by Veracini. Recorded in Rome, on an instrument which was originally made for the Florentine court of Ferdinando de’ Medici (and which, over time, has survived all manner of vicissitudes on its journey to Rome!), Fabio Biondi expertly captures the flavour of the eighteenth-century violin sonata. © Glossa
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Classical - Released October 2, 2020 | Ricercar

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After devoting a recording to sonatas by Giuseppe Tartini, for this anniversary year of the illustrious Paduan virtuoso, Evgeny Sviridov offers us a recording of Violin C
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Classical - Released January 1, 1992 | naïve classique

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Classical - Released March 1, 2003 | Arcana

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Italian violinist Enrico Gatti has made various recordings of the late Baroque violin repertory with Ensemble 415 and other groups, and his booklet notes, as encrusted with decorations as the music itself, are always part of the attraction. Here he holds forth, in English, French, and German translations of the original Italian, on Giuseppe Tartini's life and career, heading his reflections with an Emily Dickinson poem (unfortunately somewhat less effective in German) and diverging into such avenues as an attack on daily newspaper journalism as it pertains to Baroque music. His performances themselves are less unorthodox; he uses plenty of non-notated ornamentation, but no more than the various other players who have essayed this repertory, and the legendary figure Tartini clearly seems to be in the recollections of British chronicler Charles Burney and others remains a bit elusive. These are expert and exciting performances, however, with not a trace of audible effort in the hairier passages of ornament. Only about a decade separates the Op. 1 and Op. 2 sets of violin sonatas, selections from which rest comfortably on a pair of CDs. The first set was written after the death of Arcangelo Corelli, whose example, a quarter century down the road, still exerted strong influence in the realm of the solo sonata even after new breezes were blowing in the realm of ensemble music. The focus is on the pure dexterity of the player in these works, which bear the title "Suonate a violino e violoncello o cimbalo" (Sonatas for violin and cello or harpsichord). Gatti, along with others who have performed this repertory, doesn't take this label at face value and uses cello and harpsichord together in the common continuo grouping. This is reasonable enough (among other reasons because the billing could have been aimed at commercial sales to households who had either of the continuo instruments on hand, but not both), and in any event the label merely points up the total dominance of the violin in the texture here. The second set of sonatas, which merely calls for violin and bass, is more melodic and involves more interaction between soloist and continuo, with Vivaldi as a more important model. Tartini is in the midst of a small revival, his ultra-virtuosic style having been neglected for some time in favor of the melodic styles that looked forward more directly to the Classical period. The somewhat brittle church sound is a negative, but this double-CD set can be recommended to anyone who has heard the celebrated Devil's Trill and is curious as to whether there exists other similarly extreme music by this composer. © TiVo
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Chamber Music - Released September 21, 2018 | Ricercar

Hi-Res Booklet Distinctions 5 étoiles de Classica
The Russian violinist Evgeny Sviridov, winner of the MA Festival Bruges Competition in 2017, has chosen to devote his first recording to the sonatas of Giuseppe Tartini. As heir to the Baroque tradition of the early eighteenth century, Tartini developed technical concepts much bolder than those of his predecessors, thus preparing the violin for the language of the Classical period. His treatise served as a model for Leopold Mozart and his reputation was still very much alive in the Romantic era, which continued to propagate the famous anecdote of his dream during which the Devil suggested to him how to perform reputedly impossible trills... © Ricercar
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Classical - Released May 1, 2006 | BIS

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Classical - Released October 26, 2015 | 2L

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Amongst a plethora of musical styles and genres extant during the mid-18th century, the music of Giuseppe Tartini (1692-1770) finds a special place. Despite a quintessential expressive style of performance and embellishment, he was to become and remain influential across the known musical world, and his legacy was essential to violin playing for at least the next century. Tartini’s obscure writings about Nature and music reveal a close relationship to widespread ideas of a time that was to become known as The Age of Reason. However, these came with a twist: his 135 violin concertos and 200 sonatas, of which many are rarely performed today, still appear enigmatic – impalpable and mysterious. The sonorous Hardanger fiddle, an ideal instrument for imitating the traditional Italian bagpipes, appears in this recording as a tribute to the composer’s frequent use of traditional folk music motifs.
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Concertos - Released January 1, 2000 | Dynamic

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Classical - Released February 26, 2021 | Brilliant Classics

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Classical - Released March 27, 2007 | Naxos

Distinctions 4 étoiles du Monde de la Musique
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Classical - Released January 1, 1992 | Doron Music

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Classical - Released July 3, 2020 | Ulysses Arts

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Classical - Released May 14, 1991 | Naxos

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Chamber Music - Released January 1, 1977 | Warner Classics

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Chamber Music - Released March 26, 2013 | BIS

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Concertos - Released May 26, 2015 | Dynamic

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Chamber Music - Released September 15, 2017 | Tactus

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