Tartini: Twelve Sonatas and One Pastorale
Complete Works II/1/1
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- Composer: Giuseppe Tartini (1692-1770)
- Editor: Juan Mariano Porta
- Format: Full Score
- Binding: Hardcover
- ISMN:
- Size: 13.0 x 10.2 inches
- Pages: 128
- Urtext / Critical Edition
Description
The "Sonata a violino e cello o cimbalo, Opera prima" – published in Amsterdam in 1734 by Michel Charles Le Cène – constitute the first authorized edition of the violin sonatas of Giuseppe Tartini. Despite their opus number, they belong fully to the composer's artistic maturity. In the preceding decade, Tartini had consolidated his reputation, secured a stable professional position, and reached the height of his technical and expressive powers.
Begun at least by 1731, the preparation of the collection also responded to the need to counter the circulation of unauthorized prints of his sonatas by offering instead a collection that fully reflected his mature style. The dedication to Girolamo Ascanio Giustiniani, his pupil and son of Venice's Procurator Ascanio, recalls a significant connection: In 1721 Giustiniani father had interceded on Tartini's behalf for the new appointment of "primo violino e capo di concerto" at the orchestra of the Basilica of Saint Anthony in Padua.
Op. I represents the most widely disseminated of Tartini's collections. It circulated throughout Europe in reprints and manuscript copies, contributing to the composer's international fame. The influence of the collection emerges in violin treatises printed in France and Germany: several sonatas – such as the "Sonata prima" (A14), the so-called "Didone abbandonata" (g10), and the "Pastorale" (A16) – became firmly established in the teaching repertoire of conservatories from the nineteenth century onward. The remainder of the collection, by contrast, was less widely known, although it displays excellent compositional quality and a remarkable technical variety.
From a formal perspective, the collection is organized into three sections implicitly corresponding to different stylistic types: the church sonatas (nos. 1–6), still linked to a style more closely bound to late Baroque polyphony and characterized by the presence of a fugue in the second movement; the chamber sonatas (nos. 7–12), in which the new melodic style emerges clearly, often enriched by movements marked "affettuoso" or "cantabile," symptoms of a modern lyricism; and finally the "Pastorale", probably added to the traditional set of twelve as a tribute to the dedicatee and distinctive for its use of "scordatura" and pedal notes.
In this balance between contrapuntal tradition and new cantabile expression, between formal rigor and expressive exploration, the Opera prima stands as a decisive first climax in Tartini's development. This critical edition provides a state-of-the-art historical account and a reliable text that, besides marking a fundamental step in the history of the violin sonata, continues to offer extraordinary interpretative possibilities today.
Contents:
- Prefazione all'edizione
- Preface to the edition
- Criteri editoriali
- Editorial policies
- Introduzione
- Introduction
- Aspetti generali di prassi esecutiva e organologia
- General aspects of performance practice and organology
- Facsimiles
- Twelve sonatas and one pastorale, Op. 1
- Parte prima
- Sonata prima A14
- Sonata seconda F9
- Sonata terza C11
- Sonata quarta G17
- Sonata quinta e6
- Sonata sesta D12
- Parte seconda
- Sonata settima D6
- Sonata ottava c2
- Sonata nona A15
- Sonata decima g10
- Sonata undicesima E5
- Sonata dodicesima F4
- Pastorale A16
- Appendix I
- Pastorale A16a
- Pre-print version
- Apparato critico
- Descrizione e critica dei testimoni
- Elenco delle varianti
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Tartini: Twelve Sonatas and One Pastorale
