Tartini: Violin Concertos - Piero Toso, I Solisti Veneti, Scimone

Giuseppe Tartini
Violin Concertos
Piero Toso, I Solisti Veneti, Claudio Scimone
Erato 0630-12988-2

If not legendary then at least a highly recommendable recording of some of Tartini's Violin Concertos. Enjoy!

Tartini: Concertos for Violin and Orchesta Vol.2 - Vashegyi

Giuseppe Tartini
Concertos for Violin and Orchesta Vol.2
László Paulik, Orfeo Orchestra, György Vashegyi
Hungaroton HCD 32234

Classics Today Rating: 10/10

At last, a disc of Tartini violin music that doesn't include the Devil's Trill sonata! (For some reason, that G minor work has been turning up a lot lately.) No, this is a group of concertos, and before the first has concluded you're wondering why (with all due respect) Vivaldi gets so much attention when music of this quality and inventiveness is around. One reason may be a question of quantity and historical misfortune: until recently dozens of Tartini's 200 known violin concertos were believed lost, but the four performed here were recently discovered "at the Bibliothèque Nationale in Paris." And since during his lifetime (1692-1770) Tartini was primarily known as a violinist (he led his own orchestra at Padova Cathedral) and author of both a theoretical work, Trattato di musica (treatise of music), and an important summary of violin pedagogy and technique (Regole per arrivare a saper ben suonar il violino), his compositions were not widely appreciated and disseminated as they should have been. In fact, because of Tartini's unsystematic manner of composing and publishing (or simply not publishing), it's now impossible to produce a reliable chronology of his compositions. Nevertheless, the music doesn't lie--and this is wonderful music, by any standard.

And what better advocate could this underrated and relatively neglected composer have than the brilliant virtuoso violinist László Paulik (the Andrew Manze of Hungary), who performs these often dazzling, technically fearsome, melodically beautiful pieces as if born to them? He spins ornaments--often just a lightning-quick little run or almost imperceptible turn or trill--as effortlessly as breathing. And they're never gratuitous--they always fit perfectly into the context of the line. The slow movement of the E major concerto is as lovely as any by Handel or Bach, and the most virtuosic passages are as demanding--and in Paulik's hands as satisfying--as any written by the period's more illustrious composers. Tartini knew nothing if not how to get the maximum out of a theme--and his thematic ideas were sufficiently fertile to produce a body of works that don't have that recurring ring of familiarity for which Vivaldi is somewhat justifiably maligned. Tartini had a habit of suspending the action with an extended violin cadenza (as at the end of the Andante of the F major concerto), and he'd lighten the orchestral texture to emphasize the melody (the beginning of the Allegro of the same work) and just as quickly follow with a tutti dance-style section--and then jump back to a double-stop-filled cadenza. And speaking of cadenzas, Paulik provides his own here, and each is a captivating bit of soloistic drama that demands repeated listening. Paulik's partners are fully in tune--in every respect--with the soloist and with Tartini's ingratiating scores. The sound is ideal--especially complementary to Paulik's soaring, singing tone and to the careful balances and clean articulation of the orchestra.

David Vernier, Classics Today.com

Tartini: Four Concertos for Violin and Orchesta - Vashegyi

Giuseppe Tartini
Four Concertos for Violin and Orchesta
László Paulik, Orfeo Orchestra, György Vashegyi
Hungaroton HCD 32045

There is great cause for celebration here with these two volumes of Tartin Violin Concertos. Recorded at the Hungaroton Studio in Budapest the first volume from 2001 comprises what are claimed to be première recordings of all four Concertos and the second volume from 2003 includes première recordings of the two Concertos, D 7 and D 20. It seems that the manuscripts of all eight scores were discovered at the Bibliothèque Nationale in Paris and were edited for these recording sessions by the multi-talented György Vashegyi.

The Orfeo Chamber Orchestra are a period instrument chamber ensemble of around fourteen or fifteen players. They were founded in Budapest in 1991. Founder György Vashegyi directs from either harpsichord or organ.

Hungarian-born in 1966 violin soloist Paulik László studied at the prestigious Ferenc Liszt Academy of Music in Budapest. His study continued in Wien and under the tutelage of Simon Standage at the Academy of Early Music in Dresden. Whilst still a student at the Academy he was a founding member of the Concerto Armonico Chamber Orchestra and since 1992 has been Concertmaster of the Orfeo Chamber Orchestra. On these discs László wrote all the cadenzas on the first volume and that for the D 90 score on volume two.

Márta Katona in the Hungaroton booklet notes explains how Tartini’s Violin Concertos follow the established Vivaldian three movement design of Allegro-Adagio-Allegro. The central movement is usually presented in a contrasting key with the outer movements being based on the standard tutti-retornello arrangement, occasionally interrupted by a substantial solo passage.

Giuseppe Tartini, born in Pirano (now Piran) on the Adriatic in Italy (now Slovenia) in 1692 was preparing for a career in the priesthood and attended in 1709 the University of Padua where he studied theology, philosophy and literature. Following conflict with the church authorities over his marriage to a woman deemed unsuitable, Tartini was banished from Padua and fled to the Monastery of Assisi. There he studied music between 1711-14 with the famous Czech musician Bohuslav Matěj Černohorský and played violin in the orchestra at the Ancona Opera House. In 1721 in Padua, Tartini was appointed the first violin and maestro di cappella at the Basilica of Saint Anthony in Padua, a posting that he held for the rest of his life; apart from a short break. At Saint Anthony’s he was given the dispensation to play in other orchestras and was allowed some travel. Tartini did leave his post at the Basilica of Saint Anthony for three years to travel to Prague with the cellist Antonio Vandini and was involved with the Count Kinsky Orchestra where he remained until 1726. He was soon to return to Padua and the Basilica.

Tartini in 1728 established a violin school in Padua named the Scuolla delle Nazioni (School of the Nations), taking in students from all over Europe. His reputation as a composer spread to the Germany territories; France and England and throughout the remaining twenty years of his life he concentrated on his music treatises more than composition. Between the years 1739 to 1741 he visited many Italian cities including Naples and in Rome at the request of Pope Clement XII he composed a Miserere, for four, five, and eight voices, which was performed by the Sistine choir 1768. The prolific Tartini become one of the foremost Italian instrumental composers, writing over four hundred works, including mainly Violin Concertos; Sonatas and Trio Sonatas. A catalogue of Tartini’s concertos was created in 1935 by Greek musicologist Minos Dounias and catalogued according to tonality as there are very few actual composition dates available.

It is fascinating to see the progression of Tartini’s concerto model as he began to slowly extend the expressive possibilities of his music in terms of more sophisticated technique by cultivating the transition from the late-Baroque to the early developments of the Classical era. He returned later to a more austere conception of structure but still displaying a deepening of thought and an enrichment of expression.

Tartini broke little new ground in terms of great innovation but did make some advancements to the conventional concerto form, for example: a brief stanza at the start of the concerto; heightened use of ornamentation and increased technical virtuosity for the soloist became dominant features. Beside the solo violin passages he introduced a new ‘inaugural capriccio’ section in the Allegro movements to allow the soloist further opportunity to display technique.

Particularly successful are Tartini’s beautiful slow movements that frequently plumb real emotional depths, yet still maintain a reverential grace and dignity. The more I hear Tartini, especially in these recordings, the more I hold the view that, although, he does not have Vivaldi’s innate gift for melody he has a deeper soul.

I have not for some time enjoyed releases as much as these two. The interpretations from László using a Jahann Hentschl violin (c.1750) are of an exceptional standard with assured and expressive playing of purity and precision of intonation that at times takes the breath away. In the Allegros he displays astonishing virtuosity of great elegance with clean textures and articulation. I especially loved the heavenly sounds he displays and the high degree of emotional intensity in the contemplative and affecting Adagios. The sensitive support is impeccable displaying a wide spectrum of orchestral colours.

The presentation of these discs is first class including interesting and detailed annotation. This is complemented by crystal clear and immediate sound quality of demonstration standard. László is one of Hungary’s best kept secrets and he deserves to be heard by a wider audience. These discs take a treasured place in my collection.

Michael Cookson, MusicWeb International

Tartini: Violin Concertos - Piero Toso, I Solisti Veneti, Scimone

Giuseppe Tartini
Violin Concertos
Piero Toso, I Solisti Veneti, Claudio Scimone
Apex 2564 60152 2

A Penguin Guide * * * * Recording.

Recordings of Tartini’s works have progressed considerably both in number and style since these were made in 1970 using modern instruments. I recall their original release but do not have them in my collection. At that time recordings of Tartini (with the exception of the Devil’s Trill sonata) were as rare as ‘hen’s teeth‘. This issue is slowly being addressed as Tartini recordings are now much more commonly available on disc. In fact, at my last count the period instrument ensemble L’arte Dell’Arco, under director/violinist Giovanni Guglielmo, for the Genoa-based Dynamic label have now released 14 volumes of Tartini’s works.

I have read that of the 200 or so known Tartini violin concertos as many as 70 are thought to be missing. However a small number of the lost concertos were discovered recently in the Bibliothèque Nationale, in Paris and have now been recorded. The five concertos on this Apex release give a good cross-section of the violin concertos composed across Tartini’s life. There is no reliable chronology for Tartini’s compositions which is a consistent problem. A number of his works were published in his lifetime but only a relative small amount with his authorisation, so the timescale between composition and publication remains unclear.

Tartini’s concertos generally follow the established three movement design of Vivaldi’s Allegro-Adagio-Allegro. The central movement is usually presented in a contrasting key with the outer movements being based on the standard tutti-ritornello alternation, occasionally interrupted by a substantial solo passage.

It is fascinating to see the progression of Tartini’s concerto-model as he began to slowly develop the expressive possibilities of his music in terms of more sophisticated technique. He returned later to a more austere conception of structure but still displaying a deepening of thought and an enrichment of expression.

Tartini broke little new ground in terms of innovation but did make some reforms to the conventional concerto form. For example the use of a capriccio section, a brief stanza at the start of the concerto, fuller use of ornamentations and increased technical virtuosity for the soloist all became dominant features. Particularly successful are Tartini’s beautiful slow movements that frequently plumb real emotional depths and display a meditative and intense passion, yet still maintaining grace and dignity. The more I hear Tartini’s works the more I hold the view that although he does not have Vivaldi’s innate gift for melody Tartini’s music has a deeper soul.

On this Apex recording the playing of violin soloist Piero Toso matches his impeccable credentials. Toso is on fine form in these concertos, displaying a lovely tone throughout but tends to come across more as a technician rather than a showman using dazzling pyrotechnics. His playing is measured, concentrated and I’m sure deeply felt, but for my taste I would have liked a few risks to have been taken. In fact the whole recording, as fine as it is, could have been ratcheted-up a few notches to provide a more exciting experience.

The ensemble I solisti Veneti using modern instruments, give a controlled performance, under the experienced direction of Claudio Scimone. Perhaps the proceedings are too controlled overall, as in the Allegro movements I would have preferred the soloist and director to have agreed the adoption of a more liberal tempo. The warm recorded sound is adequate but comes across as slightly cloudy. To enhance the colour of the individual instruments the recording would have really benefited from a sharper detail.

Although playing different violin concertos to those contained on this release there is a superb recording that was released last year on Hungaroton 32045 that provides a marvellous example of how Tartini’s music can really sparkle and display a wide range of colours. Using period instruments the Orfeo Orchestra under the direction of Gyorgy Vashegyi with violin soloist Laszlo Paulik give a groundbreaking performance that made me see Tartini in a new light. To be candid this Apex recording pales by comparison.

These are tried and tested performances on modern instruments that received fine reviews when first released but now there are several newer recordings that portray Tartini in an improved light. In short this Apex recording would not be my first choice if I desired a recording of a sample of Tartini’s violin concertos.

Michael Cookson, MusicWeb-International

Tartini: 3 Violin Concertos, 5 Violin Sonatas, Cello Concerto

Giuseppe Tartini
3 Violin Concertos, 5 Violin Sonatas, Cello Concerto
Toso, Zannerini, Amoyal, I Solisti Veneti, Claudio Scimone
Apex 2564 61693-2

A Penguin Guide * * * * Recording.

This is part of an Apex reissue series devoted to the recordings of I soloisti Veneti and their director Claudio Scimone. As with many of the others – Tartini with Piero Toso, Vivaldi with Jean-Pierre Rampal and Albinoni – the recordings were made in the 1970s. This one has a difference of opinion; the jewel box claims 1979 for the Amoyal Sonatas but the booklet notes claim 1977. It’s good in any case to welcome them back to the fold.

It’s the Frenchman who bears the greatest burden in this set, which makes the democratic artwork so unrepresentative and the blizzard of blank pages in the booklet does speak of a certain level of ungenerosity. Toso is a good fiddle player but he’s not in Amoyal’s class – so I’d have preferred some typographical credit for the man who has nearly both these discs to himself, the excellent and eloquent Amoyal. His tight silvery tone illumines the E minor Concerto even if a recurring problem of the disc is immediately apparent; he’s been placed rather too far forward of I soloisti Veneti for entirely comfortable listening and they do sound rather distant behind him. His elegant phrasing and the cloudy veil that Scimone summons from the orchestra give expressive feeling to the slow movements. Amoyal even enlivens proceedings with some discreet portamenti; his cadenza in the opening Allegro of the G major Concerto is also suitably grand. Toso proves a commendable soloist in the D minor and cellist Zannerini despatches the A major well enough – though there’s an odd moment of pitch lurch in the finale. Good performances these in the main though the bass attacks are somewhat over forceful and the luscious orchestral string tone can be rather unremitting.

The second disc has the sonatas and not just the Devil’s Trill. There’s good balance between the trio and I was taken by the genial and warm way they span the Affettuoso first movement of the G major, not as easy a feat as it may seem. Amoyal varies his vibrato cannily in the Adagio of the F major – slowing appreciably to good effect - and his trill and bowing are on good form in the same sonata’s finale. It’s certainly of value to hear an essentially modern minded fiddler playing with a quasi-authentic set up of harpsichord and anchoring cello. To my ears, though, his anti-virtuosic performance doesn’t really take flight in the Devil’s Trill – but then perhaps that was part of the musical point he was making.

Jonathan Woolf, MusicWeb-International

Tartini: Violin Concertos - Wallfisch, Ragland BP, Kraemer

Giuseppe Tartini
Violin Concertos
Wallfisch, The Raglan Baroque Players, Kraemer
Hyperion CDA 67345

Two of Elizabeth Wallfisch's very first offerings for Hyperion were recitals of Giuseppe Tartini's violin sonatas, both recorded in 1991. Here, 12 years on, Wallfisch returns to Tartini, this time devoting her attention to four of the composer's lesser-known though equally prodigious Op. 1 violin concertos, in addition to an unidentified concerto in C major. Comparisons with L' Arte Dell' Arco's outstanding first recording of Tartini's complete Op. 1 (Dynamic) are revealing.

Though Wallfisch does not list her source for the opening Op. 1 No. 12 concerto, Giovanni Guglielmo (L' Arte Dell' Arco's director and first violinist) does--it's from the first edition of Op. 1, published between 1728-34. Tempo indications differ, as does the timing (the L' Arte Dell' Arco performance is longer by half); but more importantly, Wallfisch's score often abbreviates the youthful Tartini's ideas to the point of unrecognizability. However, what's even more distinctive are the stylistic differences between the two accounts. While thoroughly accomplished, Wallfisch's treatment sounds relatively mild mannered and even reticent compared to L' Arte Dell' Arco's more brazen, sharply delineated, devil-may-care, vital rendering. Guglielmo and colleagues sound as if they're more on a mission to bring Tartini's treasures to the fore, warts and all, rather than just offering another pleasant recital.

Listeners simply in need of a well-recorded sampling of Tartini's Op. 1 will find little fault with Wallfisch's reading. Others who want to hear the real deal should waste no time acquiring L' Arte Dell' Arco's stunning, comprehensive traversal. And hurry--they're already up to volume 10 (type Q6438 in Search Reviews)!

John Greene, ClassicsToday.com