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Hyperion Records

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The Violin Case (1923) by Marie Clementine Valadon (1865-1938)
Musée d'Art moderne de la Ville de Paris / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA68040
Recording details: April 2013
St George's, Brandon Hill, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: April 2014
Total duration: 15 minutes 58 seconds

'This estimable Kreisler compilation from the young British violinist Jack Liebeck heralds his new alliance with Hyperion, and one could hardly imagine a more propitious start to their relationship … these disarmingly affectionate and often brilliant accounts of these Kreisler favourites prove unusually satisfying … particularly superb are the transcriptions of Dvořák’s E minor Slavonic Dance, Op 72 No 2 and the ‘Danse espagnole’ from Falla’s La vida breve, both of which are hugely demanding for the violinist and played with élan and bravura here by Liebeck … this is unquestionably a Kreisler disc to which I’ll be returning often and always with pleasure, for these spirited and discerning readings have so much to commend them as to make even minor qualms seem churlish. Liebeck and Apekisheva are heard at their brilliant best in Kreisler’s own formidably taxing reworking of the G minor ‘Devil’s Trill’ Sonata by Tartini. There is indeed something of the Mephistophelean about this astounding account and Liebeck sounds stunning in Kreisler’s intimidating cadenza' (International Record Review) » More

Sonata in G minor 'Il trillo del Diavolo', Bg5
composer
1713 according to Lalande; more probably late 1740s
arranger

Introduction  EnglishFrançaisDeutsch
Giuseppe Tartini (1692–1770) once dreamt that Satan played a piece to him with the most amazing trill, and when he awoke tried to capture it on paper as a sonata in G minor, Il trillo del Diavolo (‘The Devil’s trill’). Tartini throws in some pretty devilish trills and indicates that a cadenza may be improvised towards the end of the sonata. Kreisler’s edition, incorporating a realization of the figured bass as well as fingerings and phrasings, provides a fearsome cadenza involving triple- and quadruple-stopping as well as two- and three-note trills. Even in this era of ‘authentic’ performance, it remains popular with violinists who have the technique and stamina for it.

from notes by Tully Potter © 2014

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