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Updated: May 20, 2025
The Piedmontese began again, but at the same passage Tartini stopped him again, exclaiming this time, "Too soft, my good friend, too soft!" Pugnani therefore laid down the violin, and begged of Tartini to give him some lessons. He was at once received among Tartini's pupils, and, though already an excellent artist, began his musical education almost entirely anew.
It did not, but Doctor Mazzurana brought out of a cupboard a volume of Tartini's sonatas having letter-press under the music, and this Lipinski was ordered to read in a loud tone and with all possible expression. Then he had to play the sonata, and after numerous attempts and corrections, the old man began to applaud his efforts. Lipinski ever afterwards profited by these lessons.
"It was last year, though I find that I didn't put it down at the time, that at the concert in aid of the rebuilding of Pankford church I played Tartini's 'Il Trillo del Diavolo, to me one of the weirdest and most wonderful bits of violin music in the world. I know that I was almost crying when I finished it.
Come in and see me, the Professor, some evening when I have nothing else to do, and ask me to play you Tartini's Devil's Sonata on that extraordinary instrument in my possession, well known to amateurs as one of the masterpieces of Joseph Guarnerius.
Come in and see me, the Professor, some evening when I have nothing else to do, and ask me to play you Tartini's Devil's Sonata on that extraordinary instrument in my possession, well known to amateurs as one of the masterpieces of Joseph Guarnerius.
On stopping at Trieste he heard of an old man, over ninety years of age, who had once been a pupil of Tartini, and sought him out in order to "get some points" on Tartini's style. The old man, Doctor Mazzurana, declared himself too old to play the violin, but suggested that if Lipinski would play a Tartini sonata he would tell him if his style reminded him of the great master.
His method of playing an adagio was regarded as inimitable by his contemporaries; and he transmitted this gift to his pupil Nardini, who was afterward called the greatest adagio player in the world. Another of Tartini's great élevés was Pugnani, who before coming to him had been instructed by Lorenzo Somis, the pupil of Corelli.
Ever since Tartini's time it has been acknowledged that nothing can take the place of the study of the long bow, playing in all shades of dynamics, from pp to ff, and with all the inflections of crescendo and diminuendo. Part of this study should consist of 'mute' exercises not playing, but drawing the bow above the strings, to its full length, resting at either end. This ensures bow control.
Tartini's compositions reached no less than one hundred and fifty works, distinguished not only by beauty of melody and knowledge of the violin, but by soundness of musical science. Some of his sonatas are still favorites in the concert-room.
The news of this marriage caused Tartini's parents to withdraw their support from him, and it so enraged the archbishop that the bridegroom was obliged to fly from Padua. After some wanderings he was received into a monastery at Assisi, of which a relative was an inmate.
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