Giuseppe Tartini

Giuseppe Tartini ( born April 8, 1692 in Piran to Trieste, † February 26, 1770 in Padua ) was an Italian violinist, composer and music theorist.

Life

Giuseppe Tartini was the son of the director of the salt mills in Piran, who had provided for his son a clerical career. Tartini first studied in Koper humanities, rhetoric and music. In 1709 he was enrolled at the University of Padua as a student of law, but spent the most time with the fencing lessons. The career aspirations of his pious parents he defied openly and married on 29 July 1710, two years older Elisabetha Premazore who came from lower social circles. This brought him into trouble with the family and the local clergy in and forced him to flee to the monastery of S. Francesco in Assisi, where he Abt Padre GP Torre protected, three years remained. Here he devoted himself to self-taught playing the violin and was most likely composition lessons with Bohuslav Matěj Černohorský Padre. From 1714 he worked as an orchestral musician in Assisi and in the theater of Ancona. 1721 confided to him the leadership of the orchestra of the Basilica of St. Anthony (Padua). From this position he was able to make several trips, he also spent several years in Prague, where he held the coronation of Charles VI. experienced.

Back in Padua, he founded his school of music, which attracted musicians from all over Europe, including Pugnani, Pasquale Bini, Johann Gottlieb Graun, Joseph Touchemoulin, Maddalena Sirmen, André -Noël Pagin or Carmi NATO. After the death of his wife he lived in a shared apartment with cellist Antonio Vandini, whom he knew from Prague and for which he composed his cello concertos. In Padua, Pietro Nardini was his favorite student. Tartini wrote many music-theoretical works, including one on the art of decorating, Leopold Mozart may have served as a template for his violin school. Published in the following time theoretical works, which were based in part on incorrect calculations, but also partly on our experience, have been heavily criticized and doubted by the then competition. Due to this controversy deeply offended died Tartini.

Style

Tartini's style was subject to significant changes over time and based on the first time on models such as Corelli and Vivaldi. The game was the baroque tradition decorated accordingly rich, but later reached a virtuoso pre-classical style. Tartini was famous for his lyrical style and for his bowing.

Tartini tones

Named after him are the so-called Tartini tones. The differential tones are caused by the superposition of two individual tones of different frequency. You are amplified by the nonlinearity of the hair cells in the cochlea ( cochlear ) and / or by other non- linearities to the musical instrument and therefore easier to hear. This mainly concerns tones with greater volume in which these non-linearities are usually more pronounced. One uses the perception of difference tones also for medical diagnostics of hearing.

Adaptation

A literary adaptation experienced by Giuseppe Tartini, written by the novelist Augusta Carolina Wenrich novella " Giuseppe Tartini ". The amendment was published in installments from 13 February 1841 to 20 March in 1841 Musical postilion.

Work

Tartini was like many of his contemporaries very productive.

Publications

• Trattato di musica secondo la vera scienza dell'armonia. Padua: G. Manfré 1754
• De ' Principj dell'armonia musicale nel contenuta diatonico genere. Dissertazione. Padua 1767
• During his lifetime many of his works of Michel -Charles Le Cène were printed in Amsterdam, as well as with John Walsh in London and at Le Clerc in Paris.

Legend of the Devil's Trill Sonata

In the area of ​​a romanticized legend is probably the following statement, which should come from Tartini allegedly to settle.

One night I dreamed that I had made ​​a pact with the devil for my soul. Everything went according to my command, my new servant knew in advance all my wishes. Because it occurred to me to give him my fiddle and see what he would do with it. How great was my astonishment when I heard him play with consummate skill a sonata of such exquisite beauty, that my expectations were exceeded. I was ecstatic, enraptured and enchanted; took my breath away, and I awoke. Then I took up my violin and tried to understand the sounds. But to no avail. The piece that I wrote then, may be the best that I have ever written, but it falls far short of what I 've heard in a dream.