It is not clear exactly how this demonic and exacting series of bravura variations came to be attributed to Italian Baroque composer Tommaso Antonio Vitali (1663-1745). There can be no doubt at all that Vitali had no hand whatever in the writing of this Chaconne, since scholars have found nothing even remotely similar to it within Vitali's catalog of authenticated works. Moreover, any suggestion that this might be a lost Vitali composition can be similarly dismissed, for there are not even any demonstrable stylistic affinities between the Chaconne and other pieces that have been reliably ascribed to Vitali, in particular a series of 12 sonatas for violin and keyboard. The Chaconne first came to the attention of violinists when it was published as Vitali's work in a collection of pieces (Die Hoch Schule des Violinspiels) edited by the virtuoso and close friend of Mendelssohn, Ferdinand David, and issued in 1867. What is known is that the stern and majestic G minor theme was extensively revised and made progressively more difficult in each successive variation, transforming it into a gripping tour de force of staggering technical difficulty. For this reason, it was selected as the opening work on the bill when Jascha Heifetz presented his debut recital at Carnegie Hall, and indeed, one could hardly imagine a more impressive curtain-raiser. It is just as unclear whether David (who was highly regarded for his advocacy of Baroque music, largely ignored throughout the nineteenth century) wrote the Chaconne himself or possibly assembled it from a variety of motifs by obscure figures of the high Italian Baroque. But this convoluted puzzle doesn't end there. Another violin virtuoso, Frenchman Léopold Charlier, produced an alternative -- and if possible, even more taxing -- edition in 1911. Charlier not only enhanced the technical demands of the violin part, but also made significant improvements and added new harmonizations to the piano part, whilst reordering the sequence of the variations so that they become progressively more complex as this astounding piece unfolds.
Tomaso Antonio Vitali
Chaconne for violin & continuo in G minor (spurious)
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Description by Michael Jameson
Appears On
Year | Title / Performer | Label / Catalog # | AllMusic Rating |
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2023 |
Universal Music
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2023 |
Glossa
GCD 924207
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2022 |
Avie
AV 2513
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2020 |
Signum Classics
SIGCD 652
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2020 |
Aparte
AP 234D
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2020 |
Aparte
AP 234
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2019 |
SWR Klassik / SWR Music
SWR 19074CD
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2019 |
Guild / Guild
GMCD 7820
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2018 |
Coviello Classics
COV 91734
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2018 |
RecArt
0028
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2018 |
Decca
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2018 |
Melodiya
MELCD 1002435
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2017 |
Warner Classics
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2016 |
Audite
AUDITE 95621
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2016 |
Azica Records
ACD 71305
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2016 |
RCA Red Seal
88985321742
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2015 |
Nimbus Alliance
NI 6299
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2014 |
IDIS
IDIS 6688
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2013 |
Decca
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2013 |
MSR Classics
MS 1460
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2012 |
Testament
SBT 21475
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2012 |
Red Priest
RP 011
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2011 |
Art Act
AR 001
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2011 |
Gega New
GD 359
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2011 |
OUR Recordings
6220604
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2010 |
Various Artists
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EMI Music Distribution / Warner Classics
5099945852
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2010 |
Decca
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2009 |
Various Artists
|
EMI Classics / Warner Classics
5099996700
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2008 |
Telarc Distribution
80695
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2008 |
Biddulph Recordings
80224
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2007 |
Philips
4428240
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2006 |
Doremi Records
7874-9
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2005 |
IDIS
6443/4
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2005 |
Archipel
0306
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2004 |
Cascavelle
3068
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2004 |
Testament
1343
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2003 |
Naxos
8555960
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2003 |
Opus KURA
2031
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2001 |
113
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2001 |
RCA
74321 75479-2
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2000 |
Malibran Music
150
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1999 |
Biddulph Recordings
055
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1999 |
Grammofono 2000
78917
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1999 |
Strings
99390
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1999 |
IDIS
290
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1999 |
Strings
99348
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1999 |
EMI Classics
56791B
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1998 |
EMI Music Distribution
66873
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1997 |
BMG
61755
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1997 |
Melodiya
40710
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1995 |
EMI Music Distribution
65743
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1995 |
Doron Music
3009
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1995 |
Lotos
9
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1993 |
Pearl
9401
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1993 |
EMI Music Distribution
64830
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1993 |
Various Artists
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Pearl
9981
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Fone
9602
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Monitor
72009
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JAV Recordings
118
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Testament
1258
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EMI Classics
98667
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BMG
68368
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Monopoly
2061
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Philips
420818
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Pearl
9460
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Meadows School of the Arts
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