Stabat Mater pour 2 sopranos et alto, cordes et continuo (Girolamo Abos)
1. 	Girolamo Abos 01 Stabat Mater
2. 	Girolamo Abos 02 Cujus animan
3. 	Girolamo Abos 03 Vidit suum
4. 	Girolamo Abos 04 Juxta crucem
5. 	Girolamo Abos 05 Quando corpus
6. 	Girolamo Abos 06 Amen

Stabat Mater pour 2 sopranos, alto, plaint-chant et continuo (Giuseppe Tartini)
7. 	G. Tartini 07 Stabat Mater]
 
Stabat Mater pour 2 sopranos, cordes et continuo (Quirino Gasparini)
8. 	Q. Gasparini 08 Stabat Mater
9. 	Q. Gasparini 09 Pro peccatis
10. 	Q. Gasparini 10 Vidit suum
11. 	Q. Gasparini 11 Sancta mater
12. 	Q. Gasparini 12 Fac me
13. 	Q. Gasparini 13 Fac ut
14. 	Q. Gasparini 14 Inflammatus
15. 	Q. Gasparini 15 Quando corpus
16. 	Q. Gasparini 16 Amen

Isabelle Poulenard (soprano)
Isabelles Desrochers (soprano)
Martin Oro (alto)
Ensemble Stradivaria
Daniel Cuiller – director

Following Pergolesi, several Italian composers inclined to set the text of Stabat Mater in music in a modern style, going away of the baroque manners and conquering new fields, where opera and sacred music would live happily together. The new CD of Stradivaria for Cypres conveys the listener to Napoli, Padua and Torino, between 1750 and 1770: three discoveries, among which the least surprising is certainly not that of a somber and reflective Tartini, in a score that illustrates his retreat from the road of public success. Abos on the other hand, a Maltese of Spanish extraction, is a pure product of Durante and the Neapolitan School. His muse reminds of Pergolesi’s, while Gasparini, a pupil of Padre Martini, was the maestro di cappella of the Cathedral of Torino. His Stabat Mater was deservedly renowned, but fell into oblivion during the XIXth Century. By Stradivaria, this is a new, great feast of music under patronage of musicology. ---prestoclassical.co.uk

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01. Concerto per violino e orchestra d'archi in re-minore - 1. Allegro assai
02. Concerto per violino e orchestra d'archi in re-minore - 2. Grave
03. Concerto per violino e orchestra d'archi in re-minore - 3. Presto 
04. Concerto per violoncello e orchestra d'archi in La-Maggiore - 1. Allegro 
05. Concerto per violoncello e orchestra d'archi in La-Maggiore - 2. Larghetto 
06. Concerto per violoncello e orchestra d'archi in La-Maggiore - 3. Allegro assai 
07. Concerto per tromba e orchestra d'archi in Re-Maggiore - 1. Grandioso 
08. Concerto per tromba e orchestra d'archi in Re-Maggiore - 2. Andante 
09. Concerto per tromba e orchestra d'archi in Re-Maggiore - 3. Allegro grandioso (Rondo) 
10. Concerto per violino e orchestra d'archi in sol-minore - 1. Allegro 
11. Concerto per violino e orchestra d'archi in sol-minore - 2. Grave 
12. Concerto per violino e orchestra d'archi in sol-minore - 3. Allegro 
13. Sinfonia in Fa-Maggiore No. 58 - 1. Allegro 
14. Sinfonia in Fa-Maggiore No. 58 - 2. Molto adagio 
15. Sinfonia in Fa-Maggiore No. 58 - 3. Minuetto - Allegretto 
16. Sinfonia in Fa-Maggiore No. 58 - 4. Allegro

Federico Agostini – violin (1-3)
Milos Mlejnik – violin (4-6)
Stanko Arnold – trumpet (7-9)
Igor Ozim – violin (10-12)

Slovenski Solisti (Orchestra)
Marko Munih – conductor

Tartini stood along with Vivaldi and Veracini as one of the great composers, violinists and theorists of the 18th century. His heritage is kept in a Piran museum and in the regional archives in Koper (Capodistria) and Izola (Isola).

Unlike most of his Italian contemporaries, Tartini wrote no operas. His compositions include more than 130 Concerti for violin, two Concerti for flute and two Cello concerti as well as over 170 Sonatas for violin, with or without continuo, some 50 Sonatas a Tre and 4 Sonatas a Quatre, his single composition for the church, Miserere, for four, five, and eight voices, and a small number of sacral vocal pieces written in the last year of his life. The romantic lyricism in his music was occasionally combined with Slavic folk elements which may reflect his stay in Prague (ed. or could it reflect the Slavic influence of early childhood in his native Istria?).

Only some 20 concerti and 50 sonatas were ever published so the remainder exist only in the forms of manuscripts. Apparently he was unconcerned with self-marketing, and many of his "programs" have only been reconstructed from private correspondence in the twentieth century.

Tartini's music is problematic to scholars and editors because Tartini never put dates on his manuscripts, and he also revised works that had been published or even finished years before, making it difficult to determine when a work was written, when it was revised and what the extent of those revisions were. Due to the lack of chronology in Tartini's manuscripts, the scholars Dounias and Brainard have attempted to divide Tartini's works into periods based entirely on the stylistic characteristics of the music. A catalogue of Tartini's concerti was drawn up by Doumias, numbered according to their keys. It was possible for some of the works published during Tartini's lifetime to be dated a little more accurately and Doumias has divided the remainder on style, sorting the concerti into three main periods: prior to 1735, 1735-1750 and after 1750. --- istrianet.org

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1. Allegro    [0:05:20.00]
2. Adagio    [0:03:38.00]
3. Presto    [0:04:34.00]
4. Largo andante    [0:04:41.00]

Giuliano Carmignola - violin 
Venice Baroque Orchestra 
Andrea Marcon – conductor

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1. La Sonata del Diavolo in G Minor
01 I. Largo
02 II. Allegro
03 III. Andante, Allegro, Adagio

2. L'arte del Arco
04 Theme & variation 1
05 Variations 2 & 4
06 Variations 9, 15, & 12
07 Variatios 10 & 20
08 Variation 29
09 Variation 30
10 Variation 33
11 Variation 34
12 Variation 23
13 Variation 38

3. Sonata in A minor
14 Cantabile
15 Allegro
16 Andante
17 Giga
18 Aria (with variations)
19 Variation 1
20 Variation 2
21 Variation 3
22 Variation 4
23 Variation 5

4. Pastorale for violin in scordatura
24 I. Grave
25 II. Allegro
26 III.Largo, Presto, Andante

Andrew Manze, violin

Prior to Robert Johnson’s legendary encounters with the devil in the Thirties, probably the best-known diabolic incursion into Western music was Tartini’s The Devil’s Sonata (aka The Devil’s Trill), composed between 1713 and c1750. Tartini dreamt he sold his soul to the devil, who, in return, took up a violin and played ‘a sonata so unusual and so beautiful... that I stopped breathing and awoke gasping’. Trying to recapture that satanic majesty, Tartini wrote The Devil’s Sonata, which is certainly fiendishly hard to play, particularly the infamous trill in the last movement.

In the hands of Andrew Manze, the sonata transcends its complexities to become a beautiful and compelling piece of music, closely followed by the Pastorale, with its fantastical Grave, and the other works here. Manze plays them all solo, as Tartini preferred, and the lack of continuo allows him an interpretative freedom that he exploits to the full, combining clarity of articulation and fluency of phrase in a display of mesmerising technical bravura that the devil himself might envy. Magnificent! --- Graham Lock, BBC Music Magazine

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CD 1 :

Violin Concerto No.1 in G minor, D85
Violin Concerto No.2 in E minor, D55
Violin Concerto No.3 in F major, D60
Violin Concerto No.4 in D major, D15

CD 2 :

Violin Concerto No.5 in F major D58
Violin Concerto No.6 in A major D89
Violin Concerto No.7 in A minor D111
Violin Concerto No.8 in A major D91

CD 3 :

Violin Concerto No.9 in F major, D59:
Violin Concerto No.10 in G major, D71
Violin Concerto No.11 in A major, D88
Violin Concerto No.12 in D major, D18

Giovanni Guglielmo - violin (Nos.1,4,7,10)
Federico Guglielmo - violin (Nos.2,5,8,11)
Carlo Lazari - violin (Nos.3,6,9,12)
L’Arte dell’ Arco
Giovanni Guglielmo – director

The violin concertos of Giuseppe Tartini's Op. 1 were composed and issued in the late 1720s and early 1730s , in what might now be called the publication event stretched over several years. They contain elements of the clearly structured Baroque style Tartini inherited from Vivaldi and Corelli, of the more flamboyant virtuoso style familiar from the composer's Devil's Trill, and, often in the finales, of the lighter style of the mid-century. In this selection of five concertos, originally issued in 2003, Australian historical-instrument veteran Elizabeth Wallfisch and Britain's Raglan Baroque Players emphasize the first and to an extent the third of these. Wallfisch's readings are measured, on the slow side, and technically very strong. Where Tartini offers an entire movement that breaks the Vivaldian pattern, such as the fugue inserted into the Violin Concerto in G minor or the bewitching movement simply labeled "Cantabile" in the same concerto, her readings are persuasive. The big Allegro movements are somewhat less so. Tartini's prodigious powers as a violinist and performer were documented early in his life, and these performances don't quite have the flavor of music that began to draw violinists from all over Europe to study with Tartini in Padua. Still, Wallfisch carefully renders the rhythmic breaking-up of the homogeneous Baroque line that Tartini attempted in these concertos, and the crisp strings of the Raglan group sound attractive in the hands of leader Nicholas Kraemer and Hyperion's top-notch engineers. Anyone with a collection of High Baroque instrumental music will enjoy this album and the spirit of freshness in the music it contains. --- James Manheim, Rovi

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1. Concerto grosso No.3 en - C Major: Grave
2. Concerto grosso No.3 en - C Major: Allegro - Adagio
3. Concerto grosso No.3 en - C Major: Allegro assai
4. Concerto pour violon et orchestra en - A Minor 'Lunardo Venier': Andante cantabile - Allegro assai
5. Concerto pour violon et orchestra en - A Minor 'Lunardo Venier': Andante cantabile
6. Concerto pour violon et orchestra en - A Minor 'Lunardo Venier': Presto
7. Concerto pour violoncelle et orchestre en - D Major: Largo
8. Concerto pour violoncelle et orchestre en - D Major: Allegro (assai)
9. Concerto pour violoncelle et orchestre en - D Major: Grave
10. Concerto pour violoncelle et orchestre en - D Major: Allegro
11. Concerto pour violon et orchestre en - G Major: Allegro
12. Concerto pour violon et orchestre en - G Major: Largo - Andante
13. Concerto pour violon et orchestre en - G Major: Presto
14. Concerto grosso No.5 en - E Minor: Largo
15. Concerto grosso No.5 en - E Minor: Allegro - Adagio
16. Concerto grosso No.5 en - E Minor: Allegro assai

Enrico Gatti - violin
Roel Dieltiens  - cello
Ensemble 415
Chiara Banchini -  conductor, violin

Chiarappa plays a sweet-toned Amati from 1651, predating Tartini (1692-1770) himself. His mercurial style seems ideally attuned to the ebb and flow of the music: largos are wistful and sad, allegros darting and fanciful with the florid ornamentation tossed off like birdsong. Accademia Bizantina uses "original instruments" (the extent of the "originality" with regard to tuning, stringing, etc. is not detailed) and are well recorded by Denon. The acoustic is slightly dry and capacious, emphasizing the instruments' reedy sibilance.

The carefully inflected performances of Ensemble 415 make plain the "affetti" (state of emotions) that inform Tartini's work. The Italian violin virtuoso made frequent use of poetry to inspire his composing, sometimes even recording the affecting epigram in the score. Notes accompanying both CDs reviewed here touch on this in some detail: Harmonia Mundi has Gatti's excellent if overachieving reflections; Denon is less well off with a poor translation of a more pertinent essay by Silvia Tuja. Ensemble 415 sounds the more polished group to me, though I prefer Chiarappa to either of its violin soloists. The overall interpretive bent of 415 is one of languor and affliction, whereas Accademia Bizantina, with their rhythmic vigor turned way up ("ours go to eleven!") are positively ecstatic. Perhaps the way Tartini felt during his jam sessions with the orchestra of the Basilica of St. Anthony's in Padua. Since it is my duty to make odious comparisons, I narrowly prefer the Denon record. ---Robert J. Sullivan, classical.net

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1. Sonata for Violin and Continuo in G minor, B. g5 - "Il trillo del diavolo" - 1. Larghetto affettuoso
2. Sonata for Violin and Continuo in G minor, B. g5 - "Il trillo del diavolo" - 2. Allegro
3. Sonata for Violin and Continuo in G minor, B. g5 - "Il trillo del diavolo" - 3. Andante - Allegro
4. Sonata for Violin and Continuo in G minor, B. g5 - "Il trillo del diavolo" - 4. Allegro assai

Trondheim Soloists
Anne-Sophie Mutter - violin & conductor

Tartini's Le trille du diable (The Devil's Trill) first appeared in print in 1798, 28 years after the composer's death. A legend surrounding the piece either is derived from its nickname or gave rise to it. Supposedly, Tartini took refuge in a monastery after a secret marriage to one of his students. While sleeping at the monastery, Tartini had a dream in which he asked the devil to play the violin. The devil responded by performing a sonata. When Tartini awoke, he composed a sonata for violin in imitation of that played by the devil in his dream. In one version of the legend Tartini even negotiates a contract with the devil.

Tartini was a prolific composer who wrote hundreds of trio sonatas, violin sonatas, and concertos for the violin and other instruments. In his concertos he followed the formal principles of Vivaldi but wrote music that showcased his formidable technique. In his sonatas, all movements are in the same key, and binary form is clear and predominant.

The music connected with the sonata's nickname occurs at the very end, but the full sonata is a four-movement work with fairly conventional features for the most part. As Charles Burney (1726-1814) noted, Tartini's style changed around 1744 from "extremely difficult to graceful and expressive." This is evident in the very opening of The Devil's Trill. Tartini stresses a falling half step in the first melody, a slow, contemplative theme in 12/8 time. The melody is periodic, moving to the dominant in the middle then back to the tonic. Variations of the theme ensue, stressing the dotted figure from the first beat of the theme. Several deceptive cadences extend the central part of the movement before a varied return to the theme. The next movement, an Allegro, begins with a jagged idea that outlines a G minor triad. In a bouncy 2/4 time, the main theme is fast and highly decorated with grace notes and trills. The entire movement is repeated. A brief slow movement provides contrast with its cantabile melody and acts more as an introduction to the Allegro finale than as a self-contained movement. Repeated notes again outline the tonic triad at the beginning of the last movement. This dissolves into a transition with a repeated, modulatory figure in the solo violin over increasingly intense accompaniment from the continuo. This leads to a new, slow theme, in which chromatic alterations touch on G major and the dominant. The rest of the movement consists of alternations between these two themes until a bravura cadenza begins with trills that outline the main theme; this cadenza is the source of the sonata's nickname. The trills are very difficult, for the performer is required to trill on one string while performing rapidly moving notes on another. After the lengthy cadenza, the continuo joins for the last few, highly dramatic measures. ---John Palmer, Rovi

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1. Concerto in E minor, 1: Allegro
2. Concerto in E minor, 2: Adagio
3. Concerto in E minor, 3: Allegro
4. Concerto in A minor, 1: Allegro
5. Concerto in A minor, 2 (: Grave
6. Concerto in A minor, 3: Allegro
7. Concerto in A major, 1: Allegro
8. Concerto in A major, 2: Adagio
9. Concerto in A major, 3: Presto
10. Concerto in A major, 4: Largo Andante

Uto Ughi – violin
I Solisti Veneti
Claudio Scimone – conductor

Giuseppe Tartini's concerti for violin are beautiful and full of flowery and intricate ornaments. Tartini is not as predictable as Vivaldi, or, perhaps, I did not listen to Tartini as much as I did to Vivaldi. The violinist Uto Ughi is superb. He plays with great precision, with controlled emotions, and his playing is extremely smooth. I Solisti Veneti are accompanying him in this recording, under the baton of Claudio Scimone. The booklet that accompanies the recording is extremely valuable. We learn, for example, that Tartini was influential in utilizing the non-natural positions on violin, such as second, fourth, sixth and other even-numbered positions, via a half-shifts from the natural positions, namely the odd-numbered position such as first, third, fifth etc. The natural positions are usually preferred for the greater security in the pitch. Tartini also developed the bow technique, so-called "messa di voce" which contains on the same bow a crescendo and diminuendo, among other bow techniques, which are contained in his work and his famous "Arte del Arco". Most importantly, Tartini has his own style, referred to as "maniera tartiniana", characterized with ornamentation, cantabile, and virtuosity. When you listen to Uto Ughi you will recognize all these techniques and will greatly admire Maestro Ughi. If you happen to be an amateur violinist, and if you ever tried to play Tartini, you may have troubles just sounding as Tartini should, let alone the virtuosity elements. I think that the most difficult part is achieving the controlled dynamics, and position shifts without sounding choppy. Luckily, we have this great recording to teach us how Tartini should sound.

This recording is most highly recommended! It is available from the Musical Heritage Society. ---Vera Kolb, amazon.com

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Sonata XV Per Violino E Basso Continuo G Dur 	
1 	Aria Del Tasso 	0:54
2 	Allegro 	3:16
3 	Allegro 	2:59
Sonata XVII Per Violino E Basso Continuo D Dur 	
4 	Andante Cantabile 	3:12
5 	Allegro Assai 	2:42
6 	Arai Del Tasso 	1:11
7 	Furlana 	2:12
Sonata XIX Per Violino E Basso Continuo D Dur 	
8 	Andante Cantabile. Sciogli Le Mie... Lascia Ch'io Dica Addio 	3:38
9 	Allegro Assai 	2:17
10 	Siciliana - Andante 	5:00
11 	Menuet 	1:46
12 	Altro Menuet 	1:57
13 	Aria - Allegro Assai 	3:12
Sonata XII Per Violino E Basso Continuo G Dur 	
14 	Aria Del Tasso 	0:56
15 	Grave. Il Tormento di Quest'anima 	4:39
16 	Canzone Veneziana. Quanto Mai Felici Siete Innocenti Pastorelle... 	1:47
17 	(Allegretto) 	1:21
18 	(Tema Con Variazioni) 	6:06

Jean Estournet (violin)
Thérèse Pollet (cello)
Hans Ludwig Hirsch (harpsichord and organ)

All four of these sonatas refer to the Aria del Tasso, which is why they’ve been designated with the name of ‘Tasso Sonatas’. Sonatas XII, XV and XVII contain an aria from the twelfth episode of Gerusalemme liberate and XIX, after a series of variations, seems to be derived from it as well. They’re conjecturally dated to around 1745-49 and it’s possible that Tartini sent these "little sonatas" to Berlin for publication. In the autograph some of the bass parts are missing, whilst others have been inserted in another hand. Clearly some editorial decisions were necessary for this recording, made as long ago as 1986 and re(?)-released on Arts. They’ve involved remaining true to the autograph copy so those without a bass line stay that way; those with a bass line have used a harpsichord or a "speaking" cello – Charles Burney’s word to describe contemporary Italianate cello style.

They are little sonatas indeed but in name only. Some movements or the better parts of movements are unaccompanied, such as the Aria of XV and that speaking (vocalised) quality Burney noticed in Italy and found so characteristic is apparent in its sensitive realisation. Tartini’s quality of compositional compression is at its apex in the Aria from Sonata XVII, a work in total of no more than nine or so minutes. And yet what a heroically complex movement this is and how touched with intimate withdrawal it seems in this fine performance. The Furlana - for the trio - opens in amplitude and completes a very fine traversal. I enjoyed the humorous off-note joke of the Allegro assai of the multi-movement XIX Sonata though the greatest reserve of feeling is to be found in the unaccompanied Siciliana and in the charm and sheer delicacy of the penultimate Menuet. Fuller textures appear in such as the Allegretto of XII.

These are thoughtful and attractive performances with good documentation as well. Some aspects of the editorship may be conjectural and the conjunction of unaccompanied and the bass-added continuo may jar but Tartini’s less well-known sonatas will draw sympathetic listeners. ---Jonathan Woolf, musicweb-international.com

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