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