Mario Brunello, Accademia dell'Annunciata, Riccardo Doni - Tartini: Concerti e Sonate per Violoncello Piccolo (2020) [Hi-Res]
Artist: Mario Brunello, Accademia dell'Annunciata, Riccardo Doni
Title: Tartini: Concerti e Sonate per Violoncello Piccolo
Year Of Release: 2020
Label: Arcana
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:23:50
Total Size: 447 MB / 1.58 GB
WebSite: Album Preview
Tracklist:Title: Tartini: Concerti e Sonate per Violoncello Piccolo
Year Of Release: 2020
Label: Arcana
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:23:50
Total Size: 447 MB / 1.58 GB
WebSite: Album Preview
1. Concerto for Cello, Strings and Basso Continuo in D Major: I. Allegro (3:27)
2. Concerto for Cello, Strings and Basso Continuo in D Major: II. Andantino (2:57)
3. Concerto for Cello, Strings and Basso Continuo in D Major: III. Allegro (3:33)
4. Sonata for Viola da Gamba and Basso Continuo in G Minor: I. Adagio (3:48)
5. Sonata for Viola da Gamba and Basso Continuo in G Minor: II. Andante (4:11)
6. Sonata for Viola da Gamba and Basso Continuo in G Minor: III. Allegro (2:54)
7. Sonata for Viola da Gamba and Basso Continuo in B-Flat Major: I. Affettuoso (3:28)
8. Sonata for Viola da Gamba and Basso Continuo in B-Flat Major: II. Allegro (3:21)
9. Sonata for Viola da Gamba and Basso Continuo in B-Flat Major: I. Allegro (1:49)
10. Sonata a quattro in D Major, GT 5D01: I. Allegro assai (3:43)
11. Sonata a quattro in D Major, GT 5D01: II: Andante (3:29)
12. Sonata a quattro in D Major, GT 5D01: III: Presto (2:40)
13. Concerto for Cello, Strings and Basso Continuo in A Major, GT 1.A28: I. Allegro (5:28)
14. Concerto for Cello, Strings and Basso Continuo in A Major, GT 1.A28: II: Larghetto (3:29)
15. Concerto for Cello, Strings and Basso Continuo in A Major, GT 1.A28: III. Allegro assai (4:41)
16. Concerto for Cello, Orchestea and Basso Continuo in D Major, GT 1.D34: I. Un poco largo (5:03)
17. Concerto for Cello, Orchestea and Basso Continuo in D Major, GT 1.D34: II. Allegro moderato (6:31)
18. Concerto for Cello, Orchestea and Basso Continuo in D Major, GT 1.D34: III. Grave ed espressivo (6:02)
19. Concerto for Cello, Orchestea and Basso Continuo in D Major, GT 1.D34: IV. Allegro (4:41)
20. Concertone terzo for strings and basso continuo in C Major: I. Grave (1:52)
21. Concertone terzo for strings and basso continuo in C Major: II. Allegro (2:24)
22. Concertone terzo for strings and basso continuo in C Major: III-IV. Adagio – Allegro assai (4:32)
To mark the 250th anniversary of the death of Giuseppe Tartini, Mario Brunello and the Accademia dell’Annunciata commemorate one of the great partnerships in the history of eighteenth-century music: the relationship between Tartini and Antonio Vandini, a cellist born in Bologna (cradle of the Italian cello school), active in Padua for fifty years, and the author of the first biography of Tartini, whom he had known since the 1720s.
Coupled here for the first time are Tartini’s two Cello Concertos, probably intended for his friend and colleague, alongside the only surviving concerto by Vandini himself. According to reports of the period, he ‘played in such a way as to make his instrument speak’, that instrument being the violoncello piccolo practised by the virtuosos of Padua in the mid-eighteenth century, here played by Mario Brunello.
The expressive heart of the concertos is to be found in the beautiful slow movements: in Tartini the long, eloquent melodic arches create a free inner monologue, while the rich ornamentation recalls folk motifs from the Balkan region, which he may have known. In his marvellous Andantino, Vandini gives the cello a gently symmetrical Vivaldian melody that expands in dialogue with the orchestra.
Coupled here for the first time are Tartini’s two Cello Concertos, probably intended for his friend and colleague, alongside the only surviving concerto by Vandini himself. According to reports of the period, he ‘played in such a way as to make his instrument speak’, that instrument being the violoncello piccolo practised by the virtuosos of Padua in the mid-eighteenth century, here played by Mario Brunello.
The expressive heart of the concertos is to be found in the beautiful slow movements: in Tartini the long, eloquent melodic arches create a free inner monologue, while the rich ornamentation recalls folk motifs from the Balkan region, which he may have known. In his marvellous Andantino, Vandini gives the cello a gently symmetrical Vivaldian melody that expands in dialogue with the orchestra.
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