Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Violin Sonata in A major, BA4

sopra lo stile che suona il Prette dalla Chitarra Portoghese

The Sonata ‘in the style of the priest who plays the Portuguese guitar’ (a colleague, perhaps, of Tartini at Padua) is taken up largely with virtuosic passage-work, though it is cast in the slow-fast-slow-fast pattern. The ‘Portuguese guitar’ can presumably be heard in the wild harmonic shifts and clashes of the first and third movements, reminiscent of Iberian folk music. In the slow movement the alternation of improvisatory arpeggios and simple chords is probably meant to represent the characteristic method of playing the Baroque guitar, which interspersed fingered passages with rasgueado (strummed) chords.

from notes by Peter Holman © 1992

La sonate «dans le style du prêtre qui joue la guitare portugaise» (peut-être un collègue de Tartini à Padoue) se compose essentiellement de traits pour virtuose bien qu’elle soit écrite selon un motif lent-rapide-lent-rapide. La guitare portugaise s’entend probablement dans les changements et chocs harmoniques violents des premier et troisième mouvements qui rappellent la musique ibérique populaire. Dans le mouvement lent l’alternation d’arpèges improvisateurs et d’accords simples était probablement destinée à représenter la manière la plus caractéristique de jouer la guitare baroque qui intercalait passages doigtés et accords rasgueado (grattés).

extrait des notes rédigées par Peter Holman © 1992
Français: Martine Erussard

Die Sonate „im Stil eines Priesters, der die portugiesische Gitarre spielt“ (vielleicht ein Paduaer Kollege Tartinis) besteht zum größten Teil aus virtuosen Läufen, sie verfolgt jedoch ein Langsam-Schnell-Langsam-Schema. Die portugiesische Gitarre läßt sich vermutlich in den wilden harmonischen Lagenverschiebungen und Reibungen des ersten und letzten Satzes vernehmen, die so an iberische Volksmusik erinnern. Im langsamen Satz soll die Abwechslung improvisatorischer Arpeggios und einfacher Akkorde wohl die typische Methode des barocken Gitarrespiels darstellen, das mit gegriffenen Passagen mit rasgueado (geklimperten) Akkorden durchsetzt ist.

aus dem Begleittext von Peter Holman © 1992
Deutsch: Anne Steeb/Bernd Müller


Tartini: The Devil's Trill & other violin sonatas
CDD220612CDs Dyad (2 for the price of 1)


Movement 1: Allegro
Track 9 on CDD22061 CD2 [7'23] 2CDs Dyad (2 for the price of 1)
Movement 2: Andante
Track 10 on CDD22061 CD2 [3'34] 2CDs Dyad (2 for the price of 1)
Movement 3: Allegro
Track 11 on CDD22061 CD2 [4'48] 2CDs Dyad (2 for the price of 1)
Movement 4: Minuetto
Track 12 on CDD22061 CD2 [1'12] 2CDs Dyad (2 for the price of 1)

Track-specific metadata for CDA66485 track 11

Recording date
28 May 1991
Recording venue
St Michael's Church, Highgate, London, United Kingdom
Recording producer
Martin Compton
Recording engineer
Antony Howell
Hyperion usage
  1. Tartini: Violin Sonatas, Vol. 2 (CDA66485)
    Disc 1 Track 11
    Release date: March 1992
    Deletion date: May 2006
    Superseded by CDD22061
  2. Tartini: The Devil's Trill & other violin sonatas (CDD22061)
    Disc 2 Track 11
    Release date: November 2007
    2CDs Dyad (2 for the price of 1)
Waiting for content to load...
Waiting for content to load...