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Track(s) taken from CKD292

Sonata in G minor 'Didone abbandonata', Bg10

Op 1 No 10

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2006
St Andrew's Church, Toddington, Gloucestershire, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: August 2008
Total duration: 15 minutes 3 seconds

Cover artwork: Tartini's dream (1868) by James Marshall (1838-1902)
AKG London

Other recordings available for download

The Locatelli Trio


'This is clever programming, for while Tartini's music is undoubtedly difficult, the jittery virtuosity of the Veracini throws into relief its melodic grace and refinement. Tartini is known to have taken vocal music as his model, and nowhere is this better shown than in the sonata he entitled Didone abbandonata, and which in its three movements shows the tragic queen in her bewilderment, anger and despair, all without resorting to histronics; the final decline into falling sobs is work of real emotional sophistication. Rodolfo Richter is a perfect violinist for this music, a player whose rock-solid technique, shining liquid tone and easy bowing allow him a rhythmic and lyrical freedom that really does seem to make his instrument sing' (Gramophone)

'It's 15 years since I enthused about the debut disc of the (then) ‘Palladian Ensemble'—‘sparkling playing', ‘uninhibited joy', ‘technical mastery' and ‘unrestrained imagination'. Archlutenist and guitarist William Carter alone remains of the original ensemble but these qualities survive undiminished' (BBC Music Magazine)» More

'Legend has it that Giuseppe Tartini (1692-1770) dreamt that the Devil appeared at the foot of his bed, playing an extraordinary sonata. On waking, Tartini attempted to write it down. The result is certainly devilishly difficult to play—so tricky that a myth arose that Tartini had six digits on his left hand. It's no myth that Rodolfo Richter rises to the challenge with ease, both in this piece and the Veracini sonata. He is wonderfully accompanied by his fellow Palladians, formerly the Palladian Ensemble, whose award-winning series for Linn has recently been re-released' (The Observer)

'Obwohl diese CD den reißerischen Titel „Der Teufelstriller“ trägt, möchten die ‘Palladians'—das britische Quartett aus Violine (Rodolfo Richter), Gambe (Susanne Heinrich), Cembalo (Silas Standage) sowie Erzlaute und Barockgitarre (William Carter)—Giuseppe Tartini (1692-1770) und seinen Kollegen Francesco Maria Veracini (1690-1768) ausdrücklich nicht zu reißerischen Virtuosen stempeln. Das gelingt ihnen staunenswert: Mit variablem, oft innigem Geigenton und fantasievoll-üppigem Basso continuo warden aus vermeintlichen Schaustücken feinsinnige Meisterwerke. Ein intelligentes Plädoyer für zwei Komponisten der sogenannten zweiten Reihe' (Fono Forum, Germany)

Tartini’s habit of giving his sonatas enigmatic titles drawn from Metastasio’s Classical dramas also anticipates the Classical period, when composers wanted their instrumental music to have a dramatic, operatic quality. The title ‘Didone abbandonata’ for Sonata No 10 in G minor only became popular in the nineteenth century, but it is certainly appropriate to the mood of the work, pathetic and tempestuous by turns, and it may go back to the composer.

from notes by Peter Holman © 1992

L’habitude qu’avait Tartini de donner à ses sonates des titres énigmatiques tirés des drames classiques de Métastase annonce aussi la période classique, où les compositeurs allaient vouloir conférer à leur musique instrumentale un caractère dramatique, lyrique. Le titre «Didone abbandonata» de la Sonate no10 en sol mineur ne devint populaire qu’au dix-neuvième siècle, mais il est incontestablement approprié à son atmosphère tour à tour pathétique et agitée, et remonte peut-être au compositeur.

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

Tartinis Angewohnheit, seinen Sonaten geheimnisvolle Titel zu geben, die er Metastasios klassischen Dramen entnahm, greift außerdem vor auf die klassische Ära, als die Komponisten anstrebten, ihrer Instrumentalmusik dramatische, opernhafte Züge zu verleihen. Der Titel „Didone abbandonata“ für die Sonate Nr. 10 in g-Moll setzte sich erst im 19. Jahrhundert durch, entspricht jedoch gewiß der abwechselnd kummervollen und aufbrausenden Grundstimmung des Werks und könnte vom Komponisten selbst stammen.

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

Other albums featuring this work

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