Genius of the Bow. A Critical Biography<\/p>\n\n\n\n
Giuseppe Tartini<\/p>\n\n\n\n
Genius of the Bow. A Critical Biography<\/p>\n\n\n\n
Preface by Andrea Marcon<\/p>\n\n\n\n
In the eighteenth century, Giuseppe Tartini (1692\u20131770) was the foremost violinist and one of the most celebrated musicians of his time, as well as a passionate scholar, an internationally renowned teacher, and the discoverer of the \u201cthird tone.\u201d Described as \u201cone of the most celebrated violinists\u201d (Leopold Mozart), \u201cthe greatest composer of our times\u201d (Euler), and the \u201cMaster of Nations\u201d (Lalande), Tartini has long been surrounded by inaccuracies, myth, and legend, while many aspects of his life remain mysterious or insufficiently explored.<\/p>\n\n\n\n
How did he become so famous? What is the origin of the celebrated aphorism attributed to him, \u201cto play well, one must sing well\u201d? His musical output, which includes numerous concertos presenting considerable technical and interpretative challenges, has yet to be published in its entirety and remains associated above all with a handful of famous works, including the Devil\u2019s Trill Sonata.<\/p>\n\n\n\n
A composer of genius who lived an extraordinary life, Tartini was both a supreme expression of his age and a forerunner of Classicism within a truly European context. Over recent decades, extensive research \u2014 often scattered across difficult-to-find publications and individual studies \u2014 has accumulated a wealth of fragmentary information, generally focusing on isolated aspects of the musician.<\/p>\n\n\n\n
Eighty years after the first monograph devoted to Tartini, this book offers a faithful and coherent reconstruction of the violinist\u2019s life and musical output. Through a comparative analysis of sources, documents, and previous scholarship, considered within their historical and cultural context and complemented by new evidence and deductions, it provides a comprehensive portrait of one of the most complex, daring, fascinating, and enigmatic musical figures of the entire eighteenth century.<\/p>\n\n\n\n
\u201cSuch is Tartini\u2019s music to me,\u201d wrote Blainville: \u201ca true language of sounds, musical phrases founded on the purest melody and on the art of making the violin sing.\u201d<\/p>\n\n\n\n
Preface by Andrea Marcon<\/p>\n\n\n\n
Introduction<\/p>\n\n\n\n
A Pleasant Land on a Varied Sea and Noble Stage \u2013 The Famous Salt Pans of Pirano \u2013 A Devout Family \u2013 A Humanistic Education \u2013 A Rebellious Young Man<\/p>\n\n\n\n
At the University \u2013 Time for a Change \u2013 A Marriage That Was Not Meant to Be<\/p>\n\n\n\n
An Extremely Arduous Life \u2013 Assisi \u2013 An Immortal Dream \u2013 Ancona I \u2013 La fede tradita e vendicata \u2013 The Third Tone<\/p>\n\n\n\n
In the Orchestra \u2013 Returning Home? \u2013 An Unforgettable Academy \u2013 A Duel? \u2013 Ancona II<\/p>\n\n\n\n
First Violin and Concertmaster \u2013 The Antonian Musical Chapel \u2013 The Kapellmeister \u2013 A Keen Observer \u2013 Illustrious Colleagues<\/p>\n\n\n\n
Vandini\u2019s Departure \u2013 The Italians and Europe \u2013 A Memorable Coronation \u2013 Tartini in Prague \u2013 One of the Greatest Violinists \u2013 A Position in Prague \u2013 Musical Life in Bohemia \u2013 Life in Prague \u2013 The First Compositions \u2013 A Less Than Fruitful Stay<\/p>\n\n\n\n
Return to the Santo \u2013 The School of Nations \u2013 Parma \u2013 The Concertos, Op. 1 \u2013 Questions of Temperament<\/p>\n\n\n\n
Offers from England \u2013 The Sonatas, Op. 1 \u2013 Tartini\u2019s Mottos \u2013 Giovanni Battista Martini \u2013 Activities Outside the Institution \u2013 A Famous Oboist \u2013 The Concertos, Op. 2 \u2013 A Gentle and Amiable Violinist<\/p>\n\n\n\n
Tartini\u2019s Three Periods \u2013 The Second Period \u2013 To Play Well, One Needs a Method \u2013 The Trait\u00e9 des Agr\u00e9mens \u2013 Leopold Mozart, Too \u2013 The Regole<\/p>\n\n\n\n
A Serious Health Problem \u2013 Venice \u2013 The Sonatas, Op. 2 \u2013 Gian Rinaldo Carli \u2013 The Family<\/p>\n\n\n\n
Francesco Algarotti \u2013 Six Violins for Dresden \u2013 Always Supporting One\u2019s Pupils \u2013 Music for Frederick II \u2013 The Flute Concertos and the Little Sonatas \u2013 The Devil\u2019s Trill \u2013 Trio Sonatas \u2013 Violin Concertos in the Netherlands and Germany<\/p>\n\n\n\n
The Genesis of the Trattato di musica \u2013 The Debate with Padre Martini \u2013 Subjects and Principles of the Trattato di musica \u2013 Reactions to the Trattato di musica \u2013 What Remains of the Trattato di musica<\/p>\n\n\n\n
European Recognition \u2013 From Germany and Beyond \u2013 Giordano Riccati \u2013 The Mature Style and the Last Sonatas \u2013 Among the Final Violin Concertos \u2013 The Cello Concertos and Viola da Gamba Sonatas \u2013 L\u2019Arte dell\u2019arco \u2013 A Fundamental Letter \u2013 Technique upon Technique<\/p>\n\n\n\n
A Portrait for Everyone \u2013 Metamorfosi \u2013 The Sonatas for Four \u2013 The Last Pupils and Visitors \u2013 De\u2019 principj dell\u2019armonia musicale \u2013 A Spiritual Testament \u2013 Glory to God \u2013 The Will \u2013 An Eternal Message<\/p>\n\n\n\n
APPENDIX 1. Letter to Maddalena Lombardini<\/p>\n\n\n\n
APPENDIX 2. Table of Tartini\u2019s Mottos and Texts<\/p>\n\n\n\n
APPENDIX 3. List of Violin Concertos (D.) According to the Periods Identified by Dounias<\/p>\n","protected":false},"author":2,"featured_media":60877,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"tags":[],"event_type":[270],"event_type_2":[766],"class_list":["post-59800","ajde_events","type-ajde_events","status-publish","has-post-thumbnail","hentry","event_location-media-lounge-en","event_organizer-zecchini-en","event_organizer-zecchini-editore-en","event_type-music-culture-en","event_type_2-saturday-3"],"_links":{"self":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/ajde_events\/59800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/ajde_events"}],"about":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/types\/ajde_events"}],"author":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/comments?post=59800"}],"version-history":[{"count":2,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/ajde_events\/59800\/revisions"}],"predecessor-version":[{"id":60880,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/ajde_events\/59800\/revisions\/60880"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/media\/60877"}],"wp:attachment":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/media?parent=59800"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/tags?post=59800"},{"taxonomy":"event_type","embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/event_type?post=59800"},{"taxonomy":"event_type_2","embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/event_type_2?post=59800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}