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THE CENTER OF THE WORLD
The music of Tartini (who was, in the 18th century, considered one of the greatest violinists and violin teachers of his time) is not much explored these days, finding itself, so to speak, on the periphery of contemporary musical life.
Tackling it is a bit like climbing a steep mountain : not only because of the technical rough patches that one risks encountering, but also – and primarily – all that this climb implies in terms of basic historical and stylistic preparation.
But upon arriving at the end of the ascent, what is offered us is the contemplation of beauty in solitude and peace, the possibility of being alone with oneself and hearing nothing but the sound of one’s thoughts, the rustling of thousands of unanswered questions.
My hope is being able, through my work, to contribute to better understanding the art of one who was, in my opinion, one of the greatest violinist-composers of all time, the creator of a perfectly personal and unique language.
Contrary to other 18th-century composers, Giuseppe Tartini, does not risk being ‘commercialised’ on a large scale. Like a mountain, he is motionless in his crystal-line solidity, waiting to be explored with that admiring stupor that characterises all who love to get close to the purity of nature.
Translated by John Tyler-Tuttle
ENRICO GATTI is a rare artist, in all senses of the term. Rare because his appearances are rare: he likes to distil his interpretations in the context and at the moment that suit and inspire him. Rare, too, because his thinking, continuously on the alert, imposes options on him that create this point of no return starting from which ideas are no longer what they previously were. His artistic conceptions are thus both original – in other words, creative – and unique. Rare, finally, because he devotes himself to the defence of noble causes, with that refinement and fervour that are his alone. The notion of ‘career’ is of little import to him – what matters is the thought and the way in which it is passed on by the discourse.
At first view, he is an ideal musician for translating the Italian ‘cantabilità‘ : behind the instrument is hidden the seduction of the voice. But by listening more closely, one perceives an incredibly rich range of emotions.
Listen, for example, to the voluptuousness with which he distils a continuous yet constantly renewed phrasing. And imagine the same music played by some academicallytrained
violinist. In truth, it would be a clash of two different universes: whereas the latter would formulate clichés, Gatti goes straight to the heart of the composer’s thought, as if his life depended on it. We then understand why this cause is so dear to him.
We would like to emphasise how much the basso continuo, provided by GAETANO NASILLO and GUIDO MORINI, supports this conception with a total aptness that conjures up the light and fragrances of the South. These artists are imbued with lyricism, and their skill leaves the limelight to the richness of expression.
Translated by John Tyler-Tuttle