3-Manze-Devil's Trill

I have the solo scores for both Kreisler's arrangement and Tartini's original, but I do not have this arrangement that Manze plays. If you're interested, message me in my inbox with your email address and I'll forward you the score files.

Andrew Manze playing an arrangement based off of Guiseppe Tartini's original score for the Devil's Trill Sonata, not Fritz Kreisler's arrangement.

Part 3 - Andante - Allegro - Adagio

Taken from:
Tartini-The Devil's Trill Sonata-Manze
Brought to you by harmonia mundi

Category:

Music

Tags:

• Andrew
• Manze
• Giuseppe
• Tartini
• Devil's
• Trill

[cybertek1]

The piece stays absolutely true with the baroque philosophies of extra ornamentation and improvisation. Manze masterfully creates a unique interpretation of a classic. That is what we must all realize when listening to such baroque music, it is simply an interpretation of a piece, and therefor, comparing it to another interpretation is pointless, as they are two different "songs"

[genmaximus110]

I just don't believe in that philosophy. These great composers do not need any help with writing music. If they did not intend people to play their music as they intended it, then they wouldn't have written it. A score is a score. You should play the score and not deviate from it. Who is the player to question what the master composer wrote?

[johnnylifelive]

that doesn't mean there's not considerable room for interpretation and ornament. Check out Bach's two different versions of the E-flat sinfonia and C Major invention. Which one is the "score?" If players simply played the notes, these pieces wouldn't live as they do. Also, Baroque music often lacks tempo indications or dynamics, so what then, should the player do?

[genmaximus110]

Well, as far as dynamics go, the composer simply called for more of the same instrument to come in to get it louder. As far as the solo instrument, I'm not sure. Heh.

[firebreathone]

where exactly can we hear the famous trill?

can someone give me the time

[genmaximus110]

1:39-2:03 That passage

3:28-3:45 That one as well

4:56-5:07 And that one

They're difficult because you have to constantly trill a note while also playing other notes. The fingerings are quite tricky.

There are also trills throughout the entire piece, especially in the quicker movement which I have labeled as part 2. They're short trills but they have to be trilled without effecting the measure count which can be difficult.

Kreisler's famous trill cadenza, Manze doesn't play here.

[cathalcom]

this is a huge misunderstanding. composers before the 19th century never intended anyone to play their scores exactly as they were written - they were mostly (especially with solo pieces) frameworks for improvisation- just like jazz sheets. so playing exactly as the score reads is exactly questioning and deviating from the intentions of the composer.

[xoxemil]

Hi sir, can you send the score to my email? zymeth_0@yahoo.com thank you very much!!

[laviuslumens1696]

Thanks genmaximus110! I've enjoyed reading your intelligent responses to those who insist on 'THE score'; they miss the spirit of the Baroque age. I'd love Tartini's original score so that I, too, can join in the conversation among the fiddle players through time. My e-mail address is: bushees4@comcast.net. Please check me out on youtube as 'Lavius Lumens'. Cheers!!!!

[Pinguinul84]

Hello Sir! I want these magnificent score of one of the greatest sonatas written ever! My e-mail adresse is mihai_daniel55@yahoo.com. Thank you very much!

[Pinguinul84]

Hello Sir! I want these magnificent score of one of the greatest sonatas written ever! My e-mail adresse is mihai_daniel55@yahoo.com

[cathalcom]

@genmaximus110 what if the master assumed the player was going to include improvised ornamentation? there is every indication to suggest that's exactly what Bach expected of players.

[witness124]

I can just imagine Satan seething in Hell, saying 'SOME GUY TOOK MY SONG!'

[RG28581]

@genmaximus110 Hi. I think that what you might wish to consider is that the paradigm through which you are viewing the score is that of the early 21st century, when the gap between performers and composers has grown into a gaping chasm. In the Baroque they were one and the same. Composers wrote their music for themselves to play without thinking of posterity. And they undoubtedly would have improvised and ornamented on a whim just as any good jazz musician does today.

[RG28581]

@genmaximus110 Hi. I think that what you might wish to consider is that the paradigm through which you are viewing the score is that of the early 21st century, when the gap between performers and composers has grown into a gaping chasm. In the Baroque they were on and the same. They wrote their music for themselves to play without thinking of posterity. And they undoubtedly would have improvised and ornamented on a whim just as any good jazz musician does today.

[Jaydoggy531]

@genmaximus110

I highly recommend you research old music theory and history. There are numerous stories of performers of being booed away and shouted at for having boring interpretations of the composers' original music. It's meant to have ornaments added to it. It was a very big part of solo performing, be it instrumental or vocal.

[TreyRoque]

@genmaximus110

If you think it's all in the written notes, you are sadly mistaken.