This is what I know about them, source is Agnes Kory, “Tenor violin or Tenor cello”, from page 190 on:
Tartini concertos
Giuseppe Tartini (1692-1770) was a violinist (as well as composer, teacher and theorist). However, it is more than likely that he was familiar with all members of the violin family. Furthermore, two of Tartini’s concertos, assumed to have been written for viola da gamba or violoncello, might have been composed for our tenor/bass. Let us examine these two concertos.
Concerto in D major
Supposedly, the autograph manuscript is preserved at the Gesellschaft der Musikfreunde (also known as Musikverein) in Vienna.45 Librarians of the Gesellschaft refer to the autograph as ‘Giuseppe Tartini, Concerto per il Viola da Gamba, Autographe Partitur’.46 Two copies are known, one by Johannes Klingenberg in Berlin and one by Friedrich Grützmacher in Dresden; both have been confirmed.47 Hans-Peter Linde and Thomas Fritzsch specify ‘Concerto p Viola con Quartetto...’ for the autograph’s title48 but they also say that the Dresden copy is particularly faithful to the autograph, and that the full title (of the copy) is Concerto per viola da gamba con Quartetto e due corni accompagn da Giuseppo Tartini.49
It is more than likely that this title was added by the copyist (Grützmacher) – as Klingenberg also added the same title to the Berlin copy – but the title specifically assigned to the Vienna autograph by Linde and Fritzsch is a mystery. Librarians at the Gesellschaft are adamant that the digitalised version made available to me (during my visit to the library on 7th April 2017) is the true representation of the original autograph. Here the title – ‘Concerto & Viola’ (surely Concerto for Viola) – is not in Tartini’s hand, as neither is the additional comment ‘Original Tartini’ referring to the music score. Judging by this digitalised version of the autograph, Tartini did not specify any instrument for the solo part.
The concerto was not published in Tartini’s lifetime. Sometime around 1890 the
famous cellist and teacher Friedrich Grützmacher published a cello-piano edition of what was supposed to be a Concerto per viola da gamba con Quartetto e due corni (Breitkopf and Härtel, 19006; later edition Breitkopf 3096). However, the supposed original title as well as the title added to the Vienna autograph specifies the viola; hence the viola da gamba allocation is only an assumption. In 1910 an orchestral version was produced by Louis Delune (Partitur-Bibliothek 2154). Further publications followed: first as a concerto for cello by Salmon (Ricordi, 1921), then in 1929 Schott published Rudolf Hindemith’s edition,alternatively for violoncello or viola da gamba. In 1986 the concerto was re-published withalternative versions for viola da gamba and violoncello, in orchestral version as well as in piano reduction (eds. Linde/Fritsch, Breitkopf and Härtel, Nr.7430). Linde and Fritsch report that, although the autograph title specifies ‘Concerto p Viola con Quartetto...’, the viola cannot come into consideration because the music for the solo part is notated in F4 and C4 clefs and the compass goes below that of the viola. Linde/Fritsch assume that Tartini forgot to write ‘da gamba’ after the viola in the title and that the concerto was written for the gamba although it can also be played on the cello.50 However, notwithstanding the Linde/Fritsch argument (and all publications listed above), the C/D string is needed only for two semiquavers (F#, E) and one quaver (D, but doubled in the accompaniment)51 in the entire four-movement concerto, therefore using our G-tenor/bass may be a viable option. When playing the concerto on the C-tuned cello, strenuous left hand stretches are unavoidable. Both the first and second movements require the soloist to use uncomfortable extensions in third
position immediately at the beginning of solo entries. However, on the G-tuned instrument the same passages are played in first close position.
It is true that these strenuous left hand stretches between the notes d' and f#' are negated by playing on the gamba but there are passages (like bars 52-58 and 138-146 in the fourth movement) where double stops seem to demand fifth tuning (rather than gamba tuning).
Concerto in A major
There is a manuscript copy in the Archivio Musicale della Basilica Antoniana in Padua.52 Having examined a photocopy of this (autograph) manuscript, Vanscheeuwijck reports that the concerto was written for an unspecified tenor instrument (with the part notated entirely in tenor clef), two violins, viola, and bass.53 It was first published as a cello concerto by van Leyden (Alkor, 1937), then by Ravanello and Silva (Zanibon, 1938), and more recently for violoncello or viola da gamba by Max Cassoli (Zanibon, 1974). Vanscheeuwijck further reports:
...during the solo episodes ...the viola drops... One could indeed imagine that instead of playing along with the bass line in the tutti sections, the solo instrument could have played the viola part, which never exceeds e''. The solo part has virtually the same extension (A-b') as the concerto in D Major, except for the F#-E-D on the lowest string, which do not appear in the A Major concerto. Such an extension works perfectly on a smaller instrument tuned an octave below the violin (G-d-a-e'), and it would allow the soloist to play the alto part in the tuttis, making the composition playable with a minimum number of two violins, cello, and organ.54
Vanscheeuwijck points out that ‘in the Veneto, just as in Rome, the terms viola and violoncello were often used indiscriminately to indicate a small bass violin’.55
For the D major concerto Vanscheeuwijck suggests a small five-stringed instrument with the bottom string tuned to D to facilitate the F#-E-D notes, and to increase the resonance of the instrument for the key of D.56 However, notwithstanding the F#-E-D notes, appearing once in the D major concerto, it seems beyond doubt that both Tartini concertos are suitable (and perhaps were even intended) for the G-based tenor/bass. As discussed above, it appears that Tartini did not specify the solo instrument in either of these concertos. The musical content of both pieces lends itself to the G-based tenor/bass, although the material can also be played on the gamba and on the violoncello.
I corresponded with Mark Vanscheeuwijck who told me about the publisher Musedita. Bothe Tartini concertos are available but apparently just in full score and parts (no piano reduction) here is a link to one. https://shop.musedita.it/epages/192070.sf/en_US/?ObjectPath=/Shops/192070/Products/TA2C1
Great, thanks for posting it! Piano reduction at Musedita are available on demand (I mean, if you pay for him to realize them)
Kai is making very fast progress. Thanks for posting. It is motivating to see what can be done with hard work (and in Kai's case) a lot of talent.
I agree! You are welcome, thank you!
The paper by Mark Vanscheeuwijck that seems to be the basis for his remarks that you mention here mentions two concertos by Tartini for violoncello piccolo. There is a recent recording by Mario Brunelli. https://music.apple.com/us/album/giuseppe-tartini-concerti-e-sonate-per-violoncello/1572091974. Do you have any idea how to obtain the score and parts?
This is what I know about them, source is Agnes Kory, “Tenor violin or Tenor cello”, from page 190 on:
Tartini concertos
Giuseppe Tartini (1692-1770) was a violinist (as well as composer, teacher and theorist). However, it is more than likely that he was familiar with all members of the violin family. Furthermore, two of Tartini’s concertos, assumed to have been written for viola da gamba or violoncello, might have been composed for our tenor/bass. Let us examine these two concertos.
Concerto in D major
Supposedly, the autograph manuscript is preserved at the Gesellschaft der Musikfreunde (also known as Musikverein) in Vienna.45 Librarians of the Gesellschaft refer to the autograph as ‘Giuseppe Tartini, Concerto per il Viola da Gamba, Autographe Partitur’.46 Two copies are known, one by Johannes Klingenberg in Berlin and one by Friedrich Grützmacher in Dresden; both have been confirmed.47 Hans-Peter Linde and Thomas Fritzsch specify ‘Concerto p Viola con Quartetto...’ for the autograph’s title48 but they also say that the Dresden copy is particularly faithful to the autograph, and that the full title (of the copy) is Concerto per viola da gamba con Quartetto e due corni accompagn da Giuseppo Tartini.49
It is more than likely that this title was added by the copyist (Grützmacher) – as Klingenberg also added the same title to the Berlin copy – but the title specifically assigned to the Vienna autograph by Linde and Fritzsch is a mystery. Librarians at the Gesellschaft are adamant that the digitalised version made available to me (during my visit to the library on 7th April 2017) is the true representation of the original autograph. Here the title – ‘Concerto & Viola’ (surely Concerto for Viola) – is not in Tartini’s hand, as neither is the additional comment ‘Original Tartini’ referring to the music score. Judging by this digitalised version of the autograph, Tartini did not specify any instrument for the solo part.
The concerto was not published in Tartini’s lifetime. Sometime around 1890 the
famous cellist and teacher Friedrich Grützmacher published a cello-piano edition of what was supposed to be a Concerto per viola da gamba con Quartetto e due corni (Breitkopf and Härtel, 19006; later edition Breitkopf 3096). However, the supposed original title as well as the title added to the Vienna autograph specifies the viola; hence the viola da gamba allocation is only an assumption. In 1910 an orchestral version was produced by Louis Delune (Partitur-Bibliothek 2154). Further publications followed: first as a concerto for cello by Salmon (Ricordi, 1921), then in 1929 Schott published Rudolf Hindemith’s edition,alternatively for violoncello or viola da gamba. In 1986 the concerto was re-published withalternative versions for viola da gamba and violoncello, in orchestral version as well as in piano reduction (eds. Linde/Fritsch, Breitkopf and Härtel, Nr.7430). Linde and Fritsch report that, although the autograph title specifies ‘Concerto p Viola con Quartetto...’, the viola cannot come into consideration because the music for the solo part is notated in F4 and C4 clefs and the compass goes below that of the viola. Linde/Fritsch assume that Tartini forgot to write ‘da gamba’ after the viola in the title and that the concerto was written for the gamba although it can also be played on the cello.50 However, notwithstanding the Linde/Fritsch argument (and all publications listed above), the C/D string is needed only for two semiquavers (F#, E) and one quaver (D, but doubled in the accompaniment)51 in the entire four-movement concerto, therefore using our G-tenor/bass may be a viable option. When playing the concerto on the C-tuned cello, strenuous left hand stretches are unavoidable. Both the first and second movements require the soloist to use uncomfortable extensions in third
position immediately at the beginning of solo entries. However, on the G-tuned instrument the same passages are played in first close position.
It is true that these strenuous left hand stretches between the notes d' and f#' are negated by playing on the gamba but there are passages (like bars 52-58 and 138-146 in the fourth movement) where double stops seem to demand fifth tuning (rather than gamba tuning).
Concerto in A major
There is a manuscript copy in the Archivio Musicale della Basilica Antoniana in Padua.52 Having examined a photocopy of this (autograph) manuscript, Vanscheeuwijck reports that the concerto was written for an unspecified tenor instrument (with the part notated entirely in tenor clef), two violins, viola, and bass.53 It was first published as a cello concerto by van Leyden (Alkor, 1937), then by Ravanello and Silva (Zanibon, 1938), and more recently for violoncello or viola da gamba by Max Cassoli (Zanibon, 1974). Vanscheeuwijck further reports:
...during the solo episodes ...the viola drops... One could indeed imagine that instead of playing along with the bass line in the tutti sections, the solo instrument could have played the viola part, which never exceeds e''. The solo part has virtually the same extension (A-b') as the concerto in D Major, except for the F#-E-D on the lowest string, which do not appear in the A Major concerto. Such an extension works perfectly on a smaller instrument tuned an octave below the violin (G-d-a-e'), and it would allow the soloist to play the alto part in the tuttis, making the composition playable with a minimum number of two violins, cello, and organ.54
Vanscheeuwijck points out that ‘in the Veneto, just as in Rome, the terms viola and violoncello were often used indiscriminately to indicate a small bass violin’.55
For the D major concerto Vanscheeuwijck suggests a small five-stringed instrument with the bottom string tuned to D to facilitate the F#-E-D notes, and to increase the resonance of the instrument for the key of D.56 However, notwithstanding the F#-E-D notes, appearing once in the D major concerto, it seems beyond doubt that both Tartini concertos are suitable (and perhaps were even intended) for the G-based tenor/bass. As discussed above, it appears that Tartini did not specify the solo instrument in either of these concertos. The musical content of both pieces lends itself to the G-based tenor/bass, although the material can also be played on the gamba and on the violoncello.
https://www.research.manchester.ac.uk/portal/en/theses/tenor-violin-or-tenor-cello-problems-of-identification-and-repertoire(80c74b69-357d-4645-8fcc-d21e653c5e44).html
Also:
https://www.academia.edu/49013518/In_Search_of_the_Eighteenth_Century_Violoncello_Antonio_Vandini_and_the_Concertos_for_Viola_by_Tartini