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 ...
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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 (track 5) or the bewitching movement simply labeled "Cantabile" in the same concerto, her readings are persuasive. The big Allegro...
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