More about the music

The Ottoman influence on instrumental music in Europe
Giuseppe Tartini  (1692-1770)

Track 1: Adagio (from the A minor Solo Sonata)
Track 2: Aria 'Tasso'
Track 3: Aria 'Tasso' ornamented
 
Giuseppe Tartini was born in Istria, in the seaside town of Pirano, now Piran, on the Slovenian-Croatian border. Although he spend nearly his entire working life in Padua, his music, and perhaps his revolutionary approach to the violin, never lost the flavour of the Balkans, its unique melange of languages, and the merest hint of the music of the Sublime Porte. TheAria, from his last collection of Sonatas, is the most explicit indication of the influence of Ottoman modal writing, of Macamler on his invention: with a little ornamentation, it quickly re-acquires the flavour of these routes-see Track 3.

Instrumental Music in late 17th century Austria
Giovanni Battista Vitali (1632-1692) - Partite sopra diverse Sonate 

          
Track 4: Toccata
Track 5: Bergamasca
Track 6: Capriccio
Track 7: Capriccio di Tromba
Track 8: Furlana
Track 9: Barabono
 
There was a constant querelle in Vienna as to the relative worth of German and Italian music. The young Mozart was sent to Italy to gain the imprimatur of an Italian diploma. It was Italian musicians, who promoted purely instrumental music in Vienna, encourage by the stepmother of Leopold,  Eleonora Gonzaga II, who was Mantua - born. The music of the Bolognese Giovanni Battista Vitali is typical of this popular Italian style, bringing together playful imitations of brass instruments, and allusions to the popular dance forms, Bergamasca, Furlana, Barabano.

Heinrich Ignaz Franz Biber (1644-1704)   
 
Track 10: Passacaglia (Mystery Sonata XVI) -“Der Schutzengel als Begleiter des Menschen” (The Guardian Angel as companion of Humankind)
 
In 1690, Emperor Leopold 1 elevated the Bohemian-born violinist and Kapellmeister Heinrich Ignaz Franz Biber to the nobility, and he was given a coat of arms bearing a beaver (Biber in German). For the previous 6 years, Biber had served archbishopric of Salzburg as music director. According to his previous employer, the Prince Bishop Christoph Paul Liechstenstein-Kastelkorn, he also 'composed some things'. Biber's wildly inventive music,and the new colours that he had found, through creative tunings and instrumental felicities, garnered him great renown. The 16 Mystery sonatas were probably written for the consecration of the pilgrimage church of Maria Plain, above Salzburg.
 
Turkey NOW

Track 11: Yiğit Kolat (1984-) 'Taksim' (2007)
Track 12: Onur Özmen (1981-) “Karıncanın Anıları” (2003)
 
Pieter met Onur Özmen and Yiğit Kolat  in Ankara in 2003. Both of them are leading representatives of the new generation of Turkish composers, who have reconciled the dynamic of their respective 'classical' musics, and are paving the way towards a musical language which embraces the huge diversity of their musical heritage without a whiff of exoticism.
 

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