Bravo to L’Arte dell’Arco for embarking on a complete cycle of Tartini violin concertos, the work of an influential composer whose music deserves greater attention than it currently receives; it certainly would not hurt to hear a few of his concertos in place of Vivaldi once in a while. Those readers inclined to think of Tartini as a kind of Vivaldi-with-knobs-on – longer, more virtuosic, with full textures – will have to persevere with this particular volume, however, before being disabused of the idea. The first two here, D21 and D86, fit that description pretty well (although the former has a rather Handelian alternative slow movement), but by the time the remaining two are reached one begins to get an idea of Tartini’s own rather attractive personality. As with Vivaldi’s, it is hard to put your finger on what it is exactly, but it is there all the same.
These performances, by another of the growing number of Italian period-instrument orchestras, are stylish and sympathetic, showing no signs of the brusque eccentricities favoured by some of their compatriots. Three different soloists appear with uneven results; all are capable of getting round the notes, but there is some less than happy intonation from time to time. (Correct identification of individual soloists is rendered impossible, by the way, by contradictory listings on the outside and inside of the box.) Such drawbacks, however, are as nothing next to the recording, which features a frustratingly hollow orchestral sound and a chamber organ poking through the balance in irritating fashion. Worst of all, the soloist is placed at a distance which can only be called apologetic; I’m sure Tartini would not have stood for it. This is a project with good intentions, but there is some work to do before many more volumes appear.'