Orchestra
L’Arte dell’Arco (on original instruments):

Giovanni Guglielmo, violin
Federico Guglielmo, violin
Carlo Lazari, violin
Mario Paladin, viola
Pietro Bosna, cello
Caterina Libero, basset
Nicola Reniero,

Artykuł TARTINI, L’Arte Dell’Arco, Giovanni Guglielmo<br/>12 Violin Concertos Op.1 pochodzi z serwisu Cleartone.

Orchestra
L’Arte dell’Arco (on original instruments):

Giovanni Guglielmo, violin
Federico Guglielmo, violin
Carlo Lazari, violin
Mario Paladin, viola
Pietro Bosna, cello
Massimiliano Mauthe Von Degerfeld, violo

Artykuł TARTINI, L’Arte Dell’Arco, Giovanni Guglielmo<br/>The Violin Concertos vol. 3 / Il Crudel pochodzi z serwisu Cleartone.

Artykuł TARTINI, L’Arte Dell’Arco, Giovanni Guglielmo<br/>Violin Concertos (Vol. 7) pochodzi z serwisu Cleartone.

With the exception of the Concerto D 96 – which opens the present recording – all the Concertos of our 2-CD box set belong to the first period of Tartini’s career. They are works in which the virtuosity of the outer movements alternates with Tartini’s melodic creativity, which seems to unroll in an unstoppable wave of emotion and pathos. Some of these concertos are recorded for the first time, and all are 24 bit – 96 Khz recordings.

Artykuł TARTINI, L’Arte Dell’Arco, Giovanni Guglielmo<br/>Violin Concertos Vol. 10 pochodzi z serwisu Cleartone.

– Tartini succeeds in the miracle of living and working just a few miles from Venice without being much influenced by the style of the Venetian violinist-composers and by Vivaldi in particular.

Every time we analyse and listen to these works it is astonishing to see how the Istrian musician was able to renew himself without ever repeating himself, in a continuous shift of shades and attitudes. – While the Concerto in C major D 7 presents a somewhat bizarre and fanciful character, the following Concerto in D major D 28, with the martial tones of its initial Allegro, the relaxed, effusive motion of its calm Andante and the serene ternary flow of its final Allegro, in the manner of a Minuetto, is a work of full maturity which already bears clear signs of the influence of the style galant from nearby Milan. – The Concerto in G major D 78 has long and rightly been one of Tartini’s most famous works. Published in the eighteenth century by Boivin, in Paris, it finds its finest moment in the marvellous, enchanted Largo Andante in a touching G minor. – Two different manuscripts exist of the Concerto in D major D 31, one autograph version in the Antoniana Library in Padua and another, non-autograph copy, in the Berlin Staatsbibliothek; the two scores have different slow movements (on our CD we have obviously recorded the Andante assai found in the autograph manuscript in Padua).

– In the Concerto in A major D 107, after a relaxed Allegro non presto we find an intense, meditative Grave in E major, supplied with the motto „Se per me sentite amore“ [If you feel love for me], once again very brief. The final movement, Allegro assai, then returns to those march rhythms so beloved of
Tartini in his middle period.

Artykuł TARTINI, L’Arte Dell’Arco, Giovanni Guglielmo<br/>The Violin Concertos Vol. 14 pochodzi z serwisu Cleartone.

Conductor
Giovanni Guglielmo

Orchestra
L’Arte dell’Arco:
Giovanni Guglielmo, violin
Federico Guglielmo, violin
Carlo Lazari, violin
Mario Paladin, viola
Pietro Bosna, cello
Franco Catalini, double-bass
Federico Marincola, theorbo
Nicola Re

Artykuł VIVALDI, Giovanni Guglielmo, L’Arte Dell’Arco<br/>The Best of La Cetra II – 6 violin concertos from autograph manuscripts (1728) pochodzi z serwisu Cleartone.