Tartini: secondo natura Sigurd Imsen

• Giuseppe Tartini (1692-1770): Sonata in F major, opus 1 nr. 12, B.F4
• 1 I. Adagio. Lascia ch'io dica addio (Let me say farewell) 05:19
• 2 II. Allegro 05:54
• 3 III. Allegro 08:59
• The Devil's sonata, B.g5
• 4 I. Largo 07:03
• 5 II. Allegro 05:44
• 6 III. Andante - Allegro assai 06:17
• Pastorale in A major, opus 1 nr. 13, B.A16
• 7 I. Grave 04:30
• 8 II. Allegro 04:05
• 9 III. Largo - Presto - Andante 03:27
• Total Runtime 51:18

Info for Tartini: secondo natura

Amongst a plethora of musical styles and genres extant during the mid-18th century, the music of Giuseppe Tartini (1692-1770) finds a special place. Despite a quintessential expressive style of performance and embellishment, he was to become and remain influential across the known musical world, and his legacy was essential to violin playing for at least the next century. Tartini’s obscure writings about Nature and music reveal a close relationship to widespread ideas of a time that was to become known as The Age of Reason. However, these came with a twist: his 135 violin concertos and 200 sonatas, of which many are rarely performed today, still appear enigmatic – impalpable and mysterious. The sonorous Hardanger fiddle, an ideal instrument for imitating the traditional Italian bagpipes, appears in this recording as a tribute to the composer’s frequent use of traditional folk music motifs.

Sigurd Imsen, baroque violin, hardanger fiddle
Tormod Dalen, baroque cello
Hans Knut Sveen, cembalo

Sigurd Imsen
Since 2002, I have been a member of the first violin section of the Trondheim Symphony Orchestra. I frequently appear as soloist and chamber musician on the baroque violin, and I am a member of the Norwegian Baroque Orchestra. My primary concern as a performer is the possibilities within the performance of historical music, and my ambition is to be a versatile violinist.

I am educated at the Norwegian Academy of Music, where I finished my Master’s degree in chamber music in 1998. From 2006 to 2009, I was employed as a research fellow under the supervision of Gottfried von der Goltz, leader of the Freiburg Baroque Orchestra.

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