Spirited performances of Giuseppe Tartini Violin Concertos and Sonatas

Violinist Laura Marzadori knows Italian music. Her previous releases feature works by Ottorino Respighi, Ernnano Wolf-Ferrari, and Leone Sinigaglia. This album focuses on Giuseppe Tartini, one of the most important figures in the development of violin technique.

The four works Marzadori perform are all demanding. What makes this program refreshingly different is that they're unusual parts of Tartini's catalog.

The two violin concertos were prepared from unpublished manuscripts and receive their recording debuts here.

The Sonatas a Quattro presage the development of the string quartet. Tartini writes for cellos, violas, and two sections of violins -- no basso continuo.

Marzadori is an exceptional performer. Her playing positively sparkles at times. Her interpretations are emotive and energetic. And that energy is matched by the Nuova Orchestra da Camera "Ferruccio Busoni." The ensemble has a resonant sound that nevertheless seems open. They perform with modern instruments, which bothers me not a bit.

Authentic performance practices and historically accurate instruments are important for understanding the music in context. But that's not what Marzadori and "Ferrucio Busoni" chamber orchestra is after. Rather, I think the goal is to celebrate Tartini's inventiveness and complete mastery of the violin.

And if that was the goal, then I believe they succeeded. These spirited performances have an immediate appeal that any listener should appreciate. If you only know Tartini through the "Devil's Trill," you need to hear this music.

Giuseppe Tartini: Violin Concertos and Sonatas
Laura Marzadori, violin; Muova Orchestra da Camera "Ferruccio Busoni"
Massimo Belli, conductor
Brilliant Classics 95769

The Celebratory Suites of Pancho Vladigerov

In Bulgaria, Pancho Vladigerov is almost considered the founder of classical music. Like Bedrich Smetana and Antonin Dvorak, he deftly blended his country's folk music with Western classical traditions. And like those composers, he created music of both national and international appeal.

The characteristic odd meters of Slavic folk music gives Vladigerov's compositions a bubbling energy. In some ways, Vladigerov's style reminded me of Bohuslav Martinu's.

Seven Symphonic Bulgarian Dances features some imaginative orchestration. Vladigerov seems to use the orchestra as a resource of individual sounds. He only uses as many or as few instruments as he needs to get the effect he wants.

And the overall effect is this: every dance has a very different sound. The seven-movement suite is a kaleidoscope of orchestral color that keeps the listener's attention.


The Vardar Rhapsody was originally for violin and piano. In its orchestral form, the rhapsody became a patriotic emblem -- similar to the role Sibelius's "Finlandia" plays its country. It's a noble-sounding work and a distinctively Bulgarian-sounding one as well.

The album closes with the Bulgarian Suite, Op. 21. Vladigerov once again returns to folk traditions for each of the four movements as he did for the Bulgarian Dances. And like the Dances, this Suite is just as appealing for all the same reasons.

Rouse Philharmonic Orchestra gives these works sympathetic readings. I suspect Bulgarian musicians have a deeper understanding of what Vladigerov intended. And they deliver.

These are lively, energetic performances that at times sound celebratory. The recorded sound is passable.

Pancho Vladigerov: Bulgarian Suite
Rousse Philharmonic Orchestra; Nayden Todorov, conductor
Naxos 8.573422