2020: Tartini Year by OUTHERE

Publié le 06/03/2020

Exactly 250 years ago, two cultural waves intersected, one descending, the other rising: while 1770 saw the birth of Beethoven, the father of “romanticism” in music, it also marked the disappearance of one of the great masters of the late Baroque movement, Giuseppe Tartini, who died in Padua at the age of 78. In its own way, Outhere celebrates this pivotal figure in the history of Italian violin playing by releasing three recordings, each highlighting a different or little-known aspect of his work, his personality and his impact on European music.

“Tartini: Violin Concertos”

Chouchane Siranossian, Venice Baroque Orchestra & Andrea Marcon

After several recordings with Anima Eterna and Jos Van Immerseel, the French violinist Chouchane Siranossian tackles the concertos of Tartini, works so virtuosic that few Baroque violinists dare to take them on. She rises to the challenge, combining her technical talent with the ideal partners for this repertoire – the Venice Baroque Orchestra under Andrea Marcon, a conductor steeped in the Italian Baroque style. The recording also includes a completely new concerto in G major, whose manuscript was recently rediscovered by musicologist Margherita Canale.

“Tartini: Violin Concertos”

Evgeny Sviridov & Millenium Orchestra 

For his first collaboration with the Millenium Orchestra, Evgeny Sviridov chose concertos from manuscript copies made in Germany in the 18th century. The Russian violinist happened upon cadenzas and ornamentation that are thought to be by Johann Georg Pisendel, the great violin virtuoso of the court of Dresden, friend (and performer) of Johann Sebastian Bach! Of the 130 or so violin concertos that have been preserved, Evgeny Sviridov has selected five: in D major D. 24, A major D. 89, E major D. 48, E minor D. 55, G minor D 85.

“Tartini: Cello Concertos” 

Mario Brunello & l’Accademia dell’Annunciata  

For the third project in this Tartini anniversary year, Mario Brunello and the Accademia dell’Annunciata turn their attention to Tartini’s repertoire for cello and string orchestra. This recording is an opportunity to cast light on the friendship that bound Tartini to Antonio Vandini. The composer and cellist from Bologna played in the orchestra Tartini led at Padua’s basilica between 1721 and 1770. Vandini even welcomed him into his home for two years, following the death of his wife. Vandini’s cello concerto is thus included with Tartini’s two concertos, and is recorded for the very first time with a violoncello piccolo, the instrument that Vandini used at the time. Beyond the purely musicological aspect, which reveals a mutually influential relationship between these two composers, this album helps us discover a fruitful friendship.