Artykuł TARTINI, Felix Ayo, I Giovani Musici Italiani<br/>Violin concertos (Vol.3) – Violin Concerto in C Major, F Major, G Major 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
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.

The first sonatas of the collection are mostly structured in three movements, with a slow movement followed by two fast ones, as was Tartini’s favourite scheme; from the eighth sonata, instead, the structure in four movements becomes predominant, with a rich variety of formal patterns. Some movements bear mottos and literary quotations (like Metastasio’s arias, frequently used also in the concertos, or Tasso’s Aria Lieto ti prendo with which Tartini opens his Sonata No. 12 in G major, taken from the 12th canto of the Gerusalemme liberata). In them Tartini makes a fine display of his inexhaustible melodic creativity, always shunning easy symmetries and predictable developments. There are many passages with polyphonic hints, although virtuosity always appears subject to expressiveness and never a simple show of bravura. Frequent also are the hints and melodic inflections echoing popular songs and dances of the day, as for example in the Canzone Venetiana of the Sonata No. 12 in G major, or the second movement (Allegro assai) of the Sonata No. 5 in F major. Tartini is never obvious and even less predictable; secluded in his Padua, he was a self-contained composer who disdained the world around him and possessed the creative power typical of – indeed, almost exclusive to – great anachronistic men.

Biography:

Born in Trieste, Crtomir Siskovic studied in his native city and in Ljubljana (Slovenia). After graduating with full marks from the Conservatory of Trieste in 1976, he took advanced courses with Igor Ozim, and with the Amadeus Quartet in Cologne, where in 1980 he earned a diploma with full marks from the prestigious Musikhochschule. In 1982 he took master classes with Franco Gulli and the Borodin Quartet in Bloomington (USA), with Max Rostal in Klagenfurt (Austria), and with Viktor Pikaizen in Switzerland. In the field of chamber music he has appeared with numerous prestigious ensembles of international renown, collaborating with artists such as Franco Gulli, Konstantin Bogino, Michael Flaksman, Irena Grafenauer, Maria Graf, Igor Lazko, Davide Formisano and Radovan Vlakovic. As a soloist he has performed with important orchestras. His intense solo career has seen him play under the baton of famous conductors, such as Hubert Soudant, Gustav Kuhn, Fabio Luisi, Frans Brüggen, Juozas Domarkas, Uros Lajovic, Anton Nanut, Matthias Bannert, Michael Tabachnik, Lior Shambadal, Lovrenc Arnic and Shunsaku Tsutsumi. He has toured Europe, the United States, Japan, China and Mongolia, playing in the most important concert halls. He has appeared in television recordings in Europe, China and Japan. He has recorded with famous Italian, German, Russian, Slovenian, Serbian and Japanese record labels. In recent years he has dedicated himself also to conducting.“

Artykuł TARTINI, Crtomir Siskovic<br/>Sonatas for solo violin pochodzi z serwisu Cleartone.

Orchestra
Symphonia Perusina:
Luca Arcese, first violin
Alessia Monacelli, first violin
Giovanni Nucciarelli, first violin
Lucia Moretti, first violin
Claudio Becchetti, second violin
Corinna Ruppert, second vi

Soloist
Felix Ayo, violin

Artykuł TARTINI, Felix Ayo, Symphonia Perusia<br/>Violin concertos (Vol.2) – Violin Concerto in D Major, E Minor, B Minor pochodzi z serwisu Cleartone.

Audiophile Pressing: BOCCHERINI VIVALDI TARTINI Cello Concertos Mstislav Rostropovich – well, who could argue with a statement like that? After all, Mstislav Rostropovich is a supreme virtuoso, a charismatic performer, and a sublime interpreter and virtually every one of his recordings is as good as it gets for the repertoire. The key word, of course, is virtually: while Rostropovich’s Dvorák concerto with Karajan, his Beethoven sonatas with Richter, his Brahms sonatas with Serkin, and above all his Shostakovich sonata with Shostakovich are definitive, can one say the same of his Boccherini, Vivaldi, and Tartini concertos with Paul Sacher?

His virtuosity, his charisma

Or could one say that Rostropovich does not so much play the music of the great Italian Baroque composers as overwhelm it, that his virtuosity, his charisma, and his interpretations are more than the music can bear and that the listener is left not with fond memories of the music but instead with the overpowering impression of an unstoppable musical personality having his way with the music. The results are initially awe-inspiring but may ultimately prove to some to be empty. Accompanied — the more appropriate word might be enabled — by Sacher and the Collegium Musicum Zürich, the greatest cellist of modern times came, saw, and conquered the finest cello concertos of Baroque times. Whether that’s a good thing or not is up to the listener. Deutsche Grammophon’s late stereo sound is utterly transparent but perhaps places the microphones a bit too close to the soloists.

THE WORLD’S FINEST RECORDINGS – GRAND PRIX

INHALT:

BOCCHERINI VIVALDI TARTINI Cello Concertos Mstislav Rostropovich

Luigi Boccherini: Concerto For Violincello And Strings, No. 2 In D Major

Antonio Vivaldi: Concerto For Violincello And Orchestra, Strings And Continuo In C Major RV 398

Giuseppe Tartini: Concerto For Violincello And Strings In A Major

Antonio Vivaldi: Concerto For Violincello, Strings And Continuo In G Major RV 413

Artykuł BOCCHERINI VIVALDI TARTINI <br />Cello Concertos <br />Mstislav Rostropovich pochodzi z serwisu Cleartone.