The nine anonymous violin concertos in Trondheim

Trondheim, June 4th 2017: No less than nine anonymous 18th century violin concertos are preserved in the NTNU’s manuscript collection in Trondheim. The identities of the composers is a mystery that remains to be solved. All we know is that this music was performed in Trondheim throughout the 18th century, by professional musicians, for a wealthy audience with a taste for the latest continental art.
Last week, I gathered a few of my dear colleagues in the Trondheim Symphony Orchestra for a read-through after rehearsal. This is what we recorded. Most likely, this is the first time this music has been played since the 18th century.
We would like to ask you, dear listener, what you think: Can the composer be identified? If you have any clue, opinion or knowledge to share, please get in touch.

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The Tartini album: reviews

WP_20151123_18_14_47_Raw_LISince the “Tartini secondo natura” was released on PABD in November 2015, it has been reviewed a number of times:

The album is available as Hi-res file downloads or as PABD in most online music stores, like the 2L Music Store. Low-res formats are available on a number of services, like Spotify, Tidal or iTunes.

Viva voce: April 24th, 2015

My work as a research fellow at the Norwegian Academy of Music is finished. The final result of my project, “The Tartini Style”, has been presented as a recording of violin sonatas by Giuseppe Tartini, along with a critical reflection that accounts for the historical sources, methods and development of my performance. Both parts of the work have now been approved by the assessment committee.

The viva voce takes place in Levinsalen at the NMH on Friday, April 24th at 11 a.m. The members of the assessment committee are prof. Pauline Nobes, prof. Chiara Banchini and prof. Erik Stenstadvold.

The recorded material that has been assessed consists of sonata in F, B.F4, sonata in g, B. g5 (“The Devil’s Sonata”) and the pastorale in scordatura B.A16, the latter performed on the Hardanger fiddle, as well as a simpler recording of the slow movement from sonata in d, B.d4.  The three complete sonatas will be released on Pure Audio Blu-Ray by Lindberg Lyd later in 2015.

The critical reflection can be downloaded here (pdf, 95 pages).

Fiolinkonserter i rådhussalen

På søndag spiller jeg tre fiolinkonserter i Trondheim folkebiblioteks gamle rådhussal – med et ungt og spenstig orkester i ryggen. Velkommen!

  • Antonio Vivaldi: Fiolinkonsert i B-dur, op. 4 nr. 1, “la stravaganza”
  •  Giuseppe Tartini: Fiolinkonsert i E-dur
  •  Joseph Haydn: Fiolinkonsert i C-dur

Søndag 26.2.2012 klokken 13. Gratis inngang.
Konserten arrangeres av Trondheim Symfoniorkesters venner.
Plakat: Kammerkonsert 26. februar 2012 (pdf)

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Kommende konserter: Bachs fiolinsonater med Wagner-orgelet i Nidarosdomen

Erling With Aasgård vil i løpet av 2011 og 2012 fremføre samtlige Bachs orgelverker (!) på Wagnerorgelet i Nidarosdomen, fordelt på 16 konserter. I høst vil jeg bidra med sonater på to av konsertene:
Fredag 16. september: BWV 1017 i c-moll, for fiolin og obligat cembalo
Søndag 2. oktober: BWV 1024 i c-moll, for fiolin og basso continuo (Wagnerorgelet).

Konsertene begynner klokken 20. For mer informasjon om konsertserien, se Nidarosdomens konsertkalender.

Wagnerorgelet ble bygd i 1741 og restaurert på 1990-tallet, og er et av de best bevarte barokkorglene i Nord-Europa.
wagnerorgelet

Copying the “Lipinski” Stradivarius into baroque

These pictures were taken by violin maker Jacob von der Lippe while he was building my baroque violin last winter. The idea was to copy Tartini’s  violin, the so-called “Lipinski” Stradivarius from1715. The original is being played by Frank Almond, who graciously submitted detailed photos and measurements. The challenge then was to figure out how the instrument was set up when it was new. We knew how the neck most likely was built, and that it would have been nailed to the body of the instrument rather than glued on. We also had some crucial historical information about the string tension: A source from 1734 claiming Tartini’s string setup to equal 30 kg, quite a bit heavier than a set of Dominant strings vith a tension less than 22 kg. Read more