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“One night I dreamed I had made a pact with the devil for my soul. Everything went as I desired: my new servant anticipated my every wish. I had the idea of giving him my violin to see if he might play me some pretty tunes, but imagine my astonishment when I heard a sonata so unusual and so beautiful, performed with such mastery and intelligence, on a level I had never before conceived was possible. I was so overcome that I stopped breathing and woke up gasping. Immediately I seized my violin, hoping to recall some shred of what I had just heard; but in vain. The piece I then composed is without a doubt my best, and I still call it “The Devil’s Sonata,” but it falls so far short of the one that stunned me that I would have smashed my violin and given up music forever if I could but have possessed it.” - Giuseppe Tartini
It is hugely demanding, even by modern standards, requiring a number of double stop trills (there is a rumour that Tartini had 6 fingers on his left hand, such is the difficulty), whilst simultaneously keeping a melody line running. The piece is also notable in that it is much "wilder" than standard violin sonatas of the time, and comprises a series of build-ups from a gentle, melancholic tune to a series of frenzied trilling with ever-increasing difficulty and complexity.