Performers:
Isabelle Douailly-Backman, baroque violin
Tristan Best, viola da gamba
Jonathan Addleman, partitive organ
Performed in Redpath Hall, May 17 2021, as part of my M.Mus Baroque Violin program at McGill University.
Program:
Considered one of the most popular works in violin repertoire since its publication in the 19th century, Vitali’s Chaconne in G minor remains largely an enigma. Its attributed composer, Tomaso Antonio Vitali, was the eldest son Giovanni Battista Vitali (1632-1692) as well as an accomplished violinist and composer. However, when compared to Vitali’s other works, this Chaconne bears no similarity to his compositional style. While most of Vitali’s instrumental music follows both his father and Corelli stylistically, the Chaconne in G minor is unusual for its time as it frequently modulates to far keys such as E-flat minor, B-flat minor and D-sharp minor.
The original manuscript in the composer’s handwriting is presumed lost. The current available manuscript, on which is written “Parte del Tomaso Vitalino,” was notated by a copyist and member of the Dresden court sometime between 1710 to 1730. This copy of the original was transcribed and published by Ferdinand David (1810-1873) in his second volume of his Hohe Shule des Violinspiels. In his publication of the piece, David attributes Tomaso Vitali as the composer and also modifies the piece in 19th c. fashion, completely reworking the last quarter to fit contemporary virtuoso manners.
Despite its uncertain origins, the Chaconne in G grew in popularity with violinists. The piece demonstrates violin virtuosity over a French-style chaconne ground bass line. The passage of different keys throughout the piece presents another level of technique and variability to the chaconne.
Sources:
GREICH, WOLFGAN. “Sein Oder Nicht Sein? Nochmals Zur „Chaconne von Vitali“.” Die Musikforschung 23, no. 1 (1970): 39-41.
Suess, John G. Vitali Family. Oxford University Press, 2001.
21 фев 2022
