Giuseppe Tartini: Sarabande | Largo in G minor | 1740-1750 скачать в хорошем качестве

Giuseppe Tartini: Sarabande | Largo in G minor | 1740-1750

Uncertainly attributed to Giuseppe Tartini, also called "Sarabanda" o "Sarabande in G minor", dated 1740-1750. “If Viotti is the father of modern violin playing, surely Tartini is its godfather.” Giuseppe Tartini stood along with Vivaldi and Veracini as one of the great composers, violinists and theorists of the 18th century. He produced at least 200 each of sonatas and concertos. His work presents good examples of changes that occurred after Corelli. The emphasis on “refined, poignant, ornamental” melody helps explain why Tartini would write such precise instructions on bowing, shifting and ornamentation in his letter to Signora Lombardini. Compared to the showy Italian virtuoso's who deluged northern Europe in the early 1700s, Tartini’s work shows a virtuosity that rises out of a desire to express rather than amaze. “He doesn’t play, he sings on the violin” and the romantic lyricism in his music was occasionally combined with Slavic folk elements which may reflect his stay in Prague. In 1715, Giuseppe Tartinin moved to Venice under influence of Veracini. A famed violinist and the head of the Venetian Academy of Music, founded by the King of Poland, Veracini’s playing affected Tartini greatly. In Venice Tartini, Veracini and A. Mariello devoted much time to the study of the principles of violin playing, especially to the styles and kinds of bowing. Tartini went to Ancona and studied violin intensively, also playing in the orchestra there. He withdrew for several years of solitary study, emerging with a longer bow, thicker strings, and a new control of cantabile playing. The fundamental principles of the bow and of bowing were, in any case, an important subject of his studies. The principles Tartini discovered and elucidated served as the basis of every violin school in the world. At the age of 29, Tartini was appointed director of the orchestra in the Basilica of St. Anthony at Padua. His reputation was such that he received very favorable terms, including the freedom to accept outside engagements. He spent his remaining forty-nine years in that position. In 1728 he founded his violin school at Padua, “Scuola di Nazioni,” whose fame became acknowledged across Europe. He established a systematic method of study which was popular and attracted students to Padua. Many of his students became well known violinists, such as Pugnani and Nardini. Tartini’s students took with them their teacher’s ideal of violin-playing: clarity of execution and intonation, beauty of sound, subtlety of expressive nuance. Leopold Mozart borrowed Tartini’s precepts on violin playing freely for his Violinschule of 1756. Giuseppe Tartini was born April 8, 1692 in Pirano, Istria in the Venetian Republic (now Piran, Slovenia), the fourth child of Giovanni Antonio Tartini, originally from Florence and a successful trader, and his wife Catarina Zangrandi, who was descended from Pirano nobility. Giuseppe was schooled under clerics at Pirano and Capo d’Istria, including some violin instruction. He was intended by his father for a monastic career, as might have been expected if several of the previous children were sons. He resisted the clerical profession, however, and during his career wrote relatively few religious compositions of any kind. Renouncing that path, he matriculated at the University of Padua to study law in 1709. At the university, his interests gravitated towards music as well as fencing, and he took violin lessons from Giulio di Terni. When he was 18, a secret marriage to Elizabetta Premazore, the niece of the Bishop of Padua, necessitated his flight from the city some three years later when the marriage was discovered. He eventually found refuge at Assisi where there was a friar at the monastery with some family connections to him. In Assisi, he began to study the violin with Father Boemo, who was most likely the Czech musician Bohuslav Cernohorsky and played in the convent orchestra. Cernohorsky was later an organist at St. Anthony’s in Padua and Tartini’s colleague. After about two years in Assisi, Tartini was recognized by some visitors from Padua while performing (a curtain blew aside during a performance and revealed him). His seriousness and musical ability led to the successful outcome of reconciliation with the Bishop, and he and his wife moved to Venice in approximately 1715 or 1716. Cover art: The high altar inside The Church of St George in Piran, Slovenia. Altar was made in 1737. For centuries, the town Piran was under the Venetian rule. One of the most famous sights in Piran is the St. George's Parish Church (Stolna cerkev sv Jurija). It has splendid side altars that feature several depictions of St George by Venetian Baroque painters. Originally built in the early 12th century, by the 16th century, the church got a completely new Renaissance appearance with decorations made by stonemason Bonfarte Torre. Performed by: Armenia's Violin Ensemble "Gevorg Atshemyan" Anahit Atshemyan / Anna Atshemyan