So far, 4 of the anonymous manuscripts have been identified, thanks to valuable help from fellow musicians, new information in the RISM database and pure coincidence:
- XM 119 turned out to be the sinfonia to Vivaldi’s opera Teuzzone (1718).
- XM 131 has been identified as a concerto by Franz Benda (1709-1786).
- XM 136 and XM 137 are composed by Carlo Tessarini (1690-1766) and belong to his 12 Concerti à 5 con violino obligato (Paris, 1745). He composed these concertos during his time as music director at the Ospedale del Derelitti in Venice, before he moved to Urbino in 1731.
Read more about the manuscript collection in Trondheim here.
Trondheim, June 4th 2017: No less than nine anonymous 18th century violin concertos are preserved in the NTNU’s manuscript collection in Trondheim. The identities of the composers is a mystery that remains to be solved. All we know is that this music was performed in Trondheim throughout the 18th century, by professional musicians, for a wealthy audience with a taste for the latest continental art.
Last week, I gathered a few of my dear colleagues in the Trondheim Symphony Orchestra for a read-through after rehearsal. This is what we recorded. Most likely, this is the first time this music has been played since the 18th century.
We would like to ask you, dear listener, what you think: Can the composer be identified? If you have any clue, opinion or knowledge to share, please get in touch.
Since the “Tartini secondo natura” was released on PABD in November 2015, it has been reviewed a number of times:
The album is available as Hi-res file downloads or as PABD in most online music stores, like the 2L Music Store. Low-res formats are available on a number of services, like Spotify, Tidal or iTunes.
My work as a research fellow at the Norwegian Academy of Music is finished. The final result of my project, “The Tartini Style”, has been presented as a recording of violin sonatas by Giuseppe Tartini, along with a critical reflection that accounts for the historical sources, methods and development of my performance. Both parts of the work have now been approved by the assessment committee.
The viva voce takes place in Levinsalen at the NMH on Friday, April 24th at 11 a.m. The members of the assessment committee are prof. Pauline Nobes, prof. Chiara Banchini and prof. Erik Stenstadvold.
The recorded material that has been assessed consists of sonata in F, B.F4, sonata in g, B. g5 (“The Devil’s Sonata”) and the pastorale in scordatura B.A16, the latter performed on the Hardanger fiddle, as well as a simpler recording of the slow movement from sonata in d, B.d4. The three complete sonatas will be released on Pure Audio Blu-Ray by Lindberg Lyd later in 2015.
The critical reflection can be downloaded here (pdf, 95 pages).
These pictures were taken by violin maker Jacob von der Lippe while he was building my baroque violin last winter. The idea was to copy Tartini’s violin, the so-called “Lipinski” Stradivarius from1715. The original is being played by Frank Almond, who graciously submitted detailed photos and measurements. The challenge then was to figure out how the instrument was set up when it was new. We knew how the neck most likely was built, and that it would have been nailed to the body of the instrument rather than glued on. We also had some crucial historical information about the string tension: A source from 1734 claiming Tartini’s string setup to equal 30 kg, quite a bit heavier than a set of Dominant strings vith a tension less than 22 kg. Continue reading “Copying the “Lipinski” Stradivarius into baroque”
Etter halvannet års utålmodig venting er min nye barokkfiolin endelig ferdig. Den sto ferdig bare en drøy uke før premieren på Latinskolen i Bergen sist søndag, og fikk i denne ærverdige bygningen fra 1705 en passende ilddåp i nærvær av et lydhørt og entusiastisk publikum.
Instrumentet er en kopi av den såkalte “Lipinski” Stradivarius fra 1715, som Tartini eide og brukte gjennom det meste av sitt lange liv som fiolinist. Fiolinmaker Jacob von der Lippe har kopiert denne fiolinen og rekonstruert den slik den opprinnelig var da Stradivarius bygde den, så langt det lar seg gjøre ut ifra de historiske kildene og det vi vet om Stradivarius’ byggeteknikker på den tiden.
Originalen brukes dag av Frank Almond, konsertmester i Milwaukee Symphony Orchestra, som har bidratt med høyoppløselige fotografier og detaljerte mål og informasjon om instrumentet.
Jeg har nylig bestilt en ny barokkfiolin fra fiolinmaker Jacob von der Lippe. Han vil bygge en kopi av “Lipinski” Stradivarius fra 1715, et instrument som opp igjennom historien har tilhørt kjente fiolinister som Giuseppe Tartini, Karol Lipinski, Engelbert Röntgen og Joseph Joachim. Dette er von der Lippes første barokkfiolin, og jeg ser frem til et tett samarbeid om utformingen av detaljene. Instrumentet vil være ferdig i løpet at høsten 2010. Bilder av originalen
I april 2010 venter jeg dessuten en ny bue fra Fausto Cangelosi i Firenze. Blant de mange modellene han bygger finner vi også en av Tartinis tidlige buer. Jeg har derimot valgt en noe tidligere (og noe mer anvendelig) italiensk modell fra tidlig 1700-tall.