79.00 PLN

2 CD:

Nr kat.: CDS548
Label  : Dynamic (Italia)

According to Dounias the concertos featured in these CDs belong to the second period of Tartini's activity. These are perfectly balanced works, in which the composer from Pirano d'Istria, now in his full stylistic and instrumental maturity, gives free rein to his fantasy in a consolidated formal context, now enriched by nuances of the nascent style galant and by the sapid contributions of Milanese symphonic writing. - 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.