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Antonio Vivaldi – 12 Concertos Op.3 L’Estro Armonico


Antonio Vivaldi – 12 Concertos Op.3 L’Estro Armonico

Recorded in Konstanz between May & June, 1992

About these works:
L’Estro Armonico, Op.  3, (“Harmonic Inspiration” in Italian) is a collection of twelve concertos for 1, 2 and 4 violins written by Antonio Vivaldi in 1711. It largely augmented the reputation of Vivaldi as Il Prete Rosso; (The Red Priest). Vivaldi scholar Michael Talbot went so far as to say the works are “perhaps the most influential collection of instrumental music to appear during the whole of the eighteenth century”. The collection was mostly put together in a chronological order. These concerti are often called concerti grossi due to their use of a concertino-style ensemble (solo cello is often used). Johann Sebastian Bach later transcribed six concertos from this set. Concertos Nos. 3, 9 and 12 were arranged for solo keyboard and are cataloged as BWV 978, 972 and 976. Also, Concertos Nos. 8 and 11 became Bach’s Concerti for solo organ, BWV’s 593 and 596. Lastly, the four-violin concerto No. 10 was reworked into the concerto for four harpsichords and strings, BWV 1065.

The Artists:
St. Petersburg Soloists
Michail Gantvarg: conductor

Track List:
cd1:
01. Concerto No.01 in D major RV549 I Allegro (3:06)
02. Concerto No.01 in D major RV549 II Largo e spiccato (2:40)
03. Concerto No.01 in D major RV549 III Allegro (2:59)
04. Concerto No.02 in G minor RV578 I Adagio e spiccato (1:24)
05. Concerto No.02 in G minor RV578 II Allegro (2:09)
06. Concerto No.02 in G minor RV578 III Larghetto (3:34)
07. Concerto No.02 in G minor RV578 IV Allegro (2:43)
08. Concerto No.03 in G major RV310 I Allegro (2:09)
09. Concerto No.03 in G major RV310 II Largo (2:03)
10. Concerto No.03 in G major RV310 III Allegro (2:46)
11. Concerto No.04 in E minor RV550 I Andante (1:33)
12. Concerto No.04 in E minor RV550 II Allegro assai (2:30)
13. Concerto No.04 in E minor RV550 III Adagio (0:24)
14. Concerto No.04 in E minor RV550 IV Allegro (2:57)
15. Concerto No.05 in A major RV519 I Allegro (3:00)
16. Concerto No.05 in A major RV519 II Largo (1:43)
17. Concerto No.05 in A major RV519 III Allegro (3:02)
18. Concerto No.06 in A minor RV356 I Allegro (3:25)
19. Concerto No.06 in A minor RV356 II Largo (2:13)
20. Concerto No.06 in A minor RV356 III Presto (2:42)

cd2:
01. Concerto No.07 in F major RV567 I Andante (2:14)
02. Concerto No.07 in F major RV567 II Adagio (0:59)
03. Concerto No.07 in F major RV567 III Allegro (2:43)
04. Concerto No.07 in F major RV567 IV Adagio (0:37)
05. Concerto No.07 in F major RV567 V Allegro (1:56)
06. Concerto No.08 in A minor RV522 I Allegro (3:35)
07. Concerto No.08 in A minor RV522 II Larghetto e spirituoso (3:57)
08. Concerto No.08 in A minor RV522 III Allegro (3:54)
09. Concerto No.09 in D major RV230 I Allegro (1:43)
10. Concerto No.09 in D major RV230 II Larghetto (3:52)
11. LConcerto No.09 in D major RV230 III Allegro (2:24)
12. Concerto No.10 in B minor RV580 I Allegro (3:40)
13. Concerto No.10 in B minor RV580 II Largo-Larghetto-Adagio-Largo (1:45)
14. Concerto No.10 in B minor RV580 III Allegro (3:20)
15. Concerto No.11 in D minor RV565 I Allegro-Adagio spiccato e tutti-Allegro (3:47)
16. Concerto No.11 in D minor RV565 ILargo e spiccato (2:50)
17. Concerto No.11 in D minor RV565 IAllegro (2:34)
18. Concerto No.12 in E major RV265 I Allegro (2:59)
19. Concerto No.12 in E major RV265 II Largo (2:36)
20. Concerto No.12 in E major RV265 III Allegro (2:49)

Stereo, DDD, mp3 (320 kbps), 235.09 Mb, 103:16 minutes. Info & covers included.

Part1Part2Part3

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Antonio Vivaldi – 12 Concertos Op.9 “La Cetra”


Antonio Vivaldi – 12 Concertos Op.9 “La Cetra”

Recorded at St. John’s, Smith Square, London in 1975 ( Two Concerts for wind instruments) & 1977 (“La Cetra”)

About these works:
La Cetra may not be as well known or as frequently recorded as either Vivaldi’s Op. 8 (including the Four Seasons) or Op. 3, L’Estro Armonico, but it is well worth having in your collection. These twelve concertos offer a great deal of rewarding music: beautiful serenades, haunting largos, and even an occasional melody borrowed from the Seasons, fitted out with a striking new accompaniment. In La Cetra, Vivaldi frequently achieves a new level of expressiveness combined with virtuosity which helped pave the way for devilish exploits of Paganini.

The Artists:
Academy Of St. Martin-In-the-Fields
Iona Brown: violin & conductor (for “La cetra”)
Neville Marriner: conductor (for the other two concerts)

Track List:
cd1:
01. Concerto No.1 in C maj, RV 181A – I. Allegro (3:41)
02. II. Largo (2:50)
03. III. Allegro (2:44)
04. Concerto No.2 in A maj, RV 345 – I. Allegro (4:17)
05. II. Largo (2:29)
06. III. Allegro (3:16)
07. Concerto No.3 in G minor, RV 334 – I. Allegro non molto (3:37)
08. II. Largo (3:22)
09. III. Allegro non molto (3:17)
10. Concerto No.4 in E maj, RV 263A – I. Allegro non molto (4:45)
11. II. Largo (3:03)
12. III. Allegro non molto (3:45)
13. Concerto No.5 in A minor, RV 358 – I. Adagio – Presto (3:40)
14. II. Largo (1:54)
15. III. Allegro (3:21)
16. Concerto No.6 in A maj, RV 348 – I. Allegro (3:52)
17. II. Largo (2:53)
18. III. Allegro non molto (5:17)
19. Concerto No.7 in B flat maj, RV 359 – I. Allegro (3:14)
20. II. Largo (2:21)
21. Concerto No.7 in B flat maj, RV 359 – Allegro (3:28)

cd2:
01. Vivaldi: Concerto No.8 in D minor, RV 238 – I. Allegro (3:53)
02. II. Largo (2:31)
03. III. Allegro (3:21)
04. Vivaldi: Concerto No.9 in B flat maj, RV 530 – I. Allegro (3:37)
05. II. Largo e spiccato (3:29)
06. III. Allegro (3:08)
07. Vivaldi: Concerto No.10 in G maj, RV263A – I. Allegro molto (3:53)
08. II. Largo cantabile (3:00)
09. III. Allegro (3:10)
10. Vivaldi: Concerto No.11 in C maj, RV 198A – I. Allegro (4:25)
11. II. Adagio (2:42)
12. III. Allegro (3:35)
13. Vivaldi: Concerto No.12 in B minor, RV 391- I. Allegro non molto (5:28)
14. II. Largo (2:51)
15. III. Allegro (4:33)
16. Concerto for 2 oboes in D minor, RV 535 (9:02)
17. Vivaldi: Concerto for piccolo in C maj, RV 443 (10:58)

Stereo, DDD, mp3 (320 kbps), 333.43 Mb, 144:42 minutes. Full info & covers.

Part1Part2Part3Part4

Antonio Vivaldi – 12 Concertos Op.4 “La Stravaganza”


Antonio Vivaldi – 12 Concertos Op.4 “La Stravaganza”

Recorded in 1963.

About these works:
La stravanganza (“The Extraordinary”) is a set of concertos, op.  4, written by Antonio Vivaldi in 1712-1713. The set was first published in 1714 and was dedicated to Vettor Delfino. All of the concertos were scored for solo violin, strings, and basso continuo; however, some of the movements in the concertos require extra soloists (like a second violin solo and/or a cello solo).
The violin concertos of La Stravaganza are remarkable for their range of colouration as the Vivaldi discards several vestiges of Corellian influence and reaches out with his own distinct style.  In La Stravaganza Vivaldi has achieved a remarkably high level of consistency and artistic quality from a real exhilaration in the allegros to a deep emotion in the central slow movements. I would single out the splendid concerto in F major, No. 9 as my favourite work. The foot-tapping and trotting pace of the opening movement allegro is infectious. In the central slow movement the somewhat mellifluous yet agitated solo violin against a gentle rocking rhythm is most appealing and the work concludes with a striking and furiously paced allegro. My favourite movement just has to be the meltingly beautiful largo from the concerto in D major, No. 11 which is simply irresistible and is a candidate for one of Vivaldi’s greatest hits. There have not been too many versions of La Stravaganza recorded over the years and consequently the Opus 4 set has remained in the shadow of other published collections such as L’Estro armonico Op.3, Il Cimento dell’armonia e dell’inventione, Op. 8 and La Cetra, Op.9.

The Artists:

Track List:

Stereo, ADD, mp3 (320 kbps), 266.09 Mb, 101 minutes. Info & covers included.

Part1Part2Part3

Antonio Vivaldi – Six Violin Concertos Op.12


Antonio Vivaldi – Six Violin Concertos Op.12

Recorded in 1997

About these works:
This album contains the second group of six concertos published in 1729 in Amsterdam by Le Cane, the series making, with Opus 11, published in the same year, the now usual set of twelve.

The Artists:
The Academy Of Ancient Music
Christopher Hogwood: conductor
Pavlo Beznosiuk: leading violin

Track List:
01. Concerto No.1 In G Minor – I Allegro (3:29)
02. Concerto No.1 In G Minor – II Largo (3:28)
03. Concerto No.1 In G Minor – III Allegro (3:12)
04. Concerto No.2 In D Minor – I Allegro (3:37)
05. Concerto No.2 In D Minor – II Larghetto (2:05)
06. Concerto No.2 In D Minor – III Allegro (2:38)
07. Concerto No.3 In D Major – I Allegro (2:17)
08. Concerto No.3 In D Major – II Grave (1:40)
09. Concerto No.3 In D Major – III Allegro (1:58)
10. Concerto No.4 In C Major – I Largo spiccato -[Allegro] (4:01)
11. Concerto No.4 In C Major – II Largo (1:56)
12. Concerto No.4 In C Major – III Allegro (2:33)
13. Concerto No.5 In B Flat Major – I Allegro (3:42)
14. Concerto No.5 In B Flat Major – II Largo (2:29)
15. Concerto No.5 In B Flat Major – III Allegro (3:15)
16. Concerto No.6 In B Flat Major – I Allegro (4:10)
17. Concerto No.6 In B Flat Major – II Largo (2:11)
18. Concerto No.6 In B Flat Major – III Allegro (3:52)

Stereo, DDD, mp3 (320 kbps), 123.47 Mb, 52.33 minutes. Full info & covers included.

Part1 —  Part2

Antonio Vivaldi – Opus 2: 12 Sonate For Violin And Continuo


Antonio Vivaldi – Opus 2: 12 Sonate For Violin And Continuo

Recorded in Amsterdam, The Netherlands, October 1977

About the author:
The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi’s kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi’s music. Vivaldi’s variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music’s arch progressive. Though not as familiar as his concerti, Vivaldi’s stage and choral music is still of value; his sometimes bouncy, sometimes lyrical Gloria in D major (1708) has remained a perennial favorite. His operas were widely performed in his own time.

About this work:

These works, often thought of in terms of being ‘immature’, are currently under recorded. This is a pity because although lacking in the depth of Vivaldi’s next opus, the masterwork ‘L’Estro armonico’, these sonatas are sophisticated and artful studies. Taking the rhythms and melodies from dance movements Vivaldi creates a showcase for the violin and explores the interplay between the base instruments of cello and harpsichord. The movements contrast stately, formal preludes with rustic and immediate dances. The exuberance of the faster movements encourages technical brilliance and the slower ones require a thoughtfulness from the player. There is in this music a real sense of Vivaldi striving to stretch the sonata form and to give the music a depth of meaning.

Track List:

The Players:

Stereo, ADD, mp3, 320 kbps, 320.01 Mb, 2 hours 17 minutes. Covers & info included.

Part1 —–   Part2 —–   Part3 —–   Part4

Antonio Vivaldi – Concertos For Flute, Mandolin, Bassoon & Violin


Antonio Vivaldi – Concertos For Flute, Mandolin, Bassoon & Violin

Recorded at the Baumgartner Hall, Vienna on June 1964.

About the author:
Antonio Vivaldi was born in Venice, 4 March 1678 and died in Vienna, 28 July 1741. He was the son of a professional violinist who played at St. Mark’s and may have been involved in operatic management. Vivaldi was trained for the priesthood and ordained in 1703 but soon after his ordination ceased to say Mass. he claimed this was because of his unsure health (he is known to have suffered from chest complaints, possibly asthma or angina). In 1703 he was appointed maestro di violino at the Ospedale della Pietà, one of the Venetian girls’ orphanages; he remained there until 1709, and held the post again, 1711-16; he then became maestro de’ concerti. Later, when he was away from Venice, he retained his connection with the Pietà (at one period he sent two concertos by post each month). He became maestro di cappella, 1735-8; even after then he supplied concertos and directed performances on special occasions. Vivaldi’s reputation had begun to grow with his first publications: trio sonatas (probably 1703-5), violin sonatas (1709) and especially his 12 concertos L’estro armonico op.3 (1711). These, containing some of his finest concertos, were issued in Amsterdam and widely circulated in northern Europe; this prompted visiting musicians to seek him out in Venice and in some cases commission works from him (notably for the Dresden court). Bach transcribed five op.3 concertos for keyboard, and many German composers imitated his style. He published two further sets of sonatas and seven more of concertos, including La stravaganza op.4 (circa 1712), Il cimento dell’armonia e dell’inventione (circa 1725, including ‘The Four Seasons’) and La cetra (1727). It is in the concerto that Vivaldi’s chief importance lies. He was the first composer to use ritornello form regularly in fast movements, and his use of it became a model; the same is true of his three-movement plan (fast-slow-fast). His methods of securing greater thematic unity were widely copied, especially the integration of solo and ritornello material; his vigorous rhythmic pattems, his violinistic figuration and his use of sequence were also much imitated. Of his circa 550 concertos, circa 350 are for solo instrument (more than 230 for violin); there are circa 40 double concertos, more than 30 for multiple soloists and nearly 60 for orchestra without solo, while more than 20 are chamber concertos for a small group of solo instruments without orchestra (the ‘tutti’ element is provided by the instmments all playing together). Vivaldi was an enterprising orchestrator, writing several concertos for unusual combinations like viola d’amore and lute, or for ensembles including chalumeaux, clarinets, horns and other rarities. There are also many solo concertos for bassoon, cello, oboe and flute. Some of his concertos are programmatic, for example ‘La tempesta di mare’ (the title of three concertos). Into this category also fall ‘The Four Seasons’, with their representation of seasonal activities and conditions accommodated within a standard ritornello form – these are described in the appended sonnets, which he may have written himself. Vivaldi was also much engaged in vocal music. He wrote a quantity of sacred works, chiefly for the Pietà girls, using a vigorous style in which the influence of the concerto is often marked. He was also involved in opera and spent much time travelling to promote his works. His earliest known opera was given in Vicenza in 1713; later he worked at theatres in Venice, Mantua (1718-20), Rome (probably 1723-5), possibly Vienna and Prague (around 1730), Ferrara (1737), Amsterdam (1738) and possibly Vienna during his last visit. He was by most accounts a difficult man; in 1738 he was forbidden entry to Ferrara ostensibly because of his refusal to say Mass and his relationship with the singer Anna Giraud, a pupil of his with whom he travelled. More than 20 of his operas survive; those that have been revived include music of vitality and imagination as well as more routine items. But Vivaldi’s importance lies above all in his concertos, for their boldness and originality and for their central place in the history of concerto form.

About these works:

The concertos featured on this CD were discovered under the most unusual cir-cumstances. In 1926, the Salesian fathers, who ran a Piedmontese boarding school, inquired at the National Library in Turin about the value of a manuscript collection they owned. The material was turned over to Professor Alberto Centili at Turin University, who found before him volume upon volume of Vivaldi manuscripts. It transpired that the collection had once belonged to Count Giacomo Durazzo, a patron of Chick. Later, another substantial portion of the Durazzo holdings was found in Genoa, in the home of one of his descendants. The two groups of Durazzo manuscripts are known as the Mauro Foa and Renzo Giordano Collections. The Concerto for Two Mandolins is technically a concerto grosso, with the two mandolins comprising the cencertino role. Vivaldi probably wrote for this unusual combination to endear himself to influential patrons who played the mandolin. The C Minor Concerto, dubbed La notte, is a concerto grosso in which the high-pitched flute and the low-voiced bassoon form the concertino. Here, the composer abandons his customary three-movement pattern for a multi-sectional and rhapsodic structure whose individual sections follow each other without break. Vivaldi also applied the construction idea from his solo concertos to his concerti ripieni or concerti a quattro, which were three-movement pieces for string ensemble (violins I and II, viola, bass) with a keyboard instrument (harpsichord or organ), as in the Concerto in A Major. The Concerto in C Minor for Bassoon is one of a total of 38 concerti Vivaldi wrote for this instrument. He must have had excellent players at his disposal, for these are virtuoso pieces which exhibit charming instrumental combinations. The Concerto in C Major for Violin, Strings in due con and Two Harpsichords noticeably connects Baroque instrumental music with Renaissance vocal art. The due cori that form the division of the orchestra are direct descendants of the cori spezzati (split choruses that sang in alternation, following the ancient antiphonal practice). The application of the cori spezzati technique to instrumental music led to the concerto grosso.

Track List:
01. Concerto In G Major for Two Mandolins, Strings & Organ – I. Allegro (4:20)
02. Concerto In G Major for Two Mandolins, Strings & Organ – II. Andante (2:29)
03. Concerto In G Major for Two Mandolins, Strings & Organ – III Alegro (3:39)
04. Concerto In G Minor For Flute, Basson, Strings & Harpsichord – I. Largo (2:21)
05. Concerto In G Minor For Flute, Basson, Strings & Harpsichord – II. Fantasmi (Presto) (2:46)
06. Concerto In G Minor For Flute, Basson, Strings & Harpsichord – III. Il Sonno (Largo) (1:39)
07. Concerto In G Minor For Flute, Basson, Strings & Harpsichord – IV Allegro (2:52)
08. Concerto In A Major For Strings & Harpsichord – I. Allegro molto (2:57)
09. Concerto In A Major For Strings & Harpsichord – II. Andante molto (2:42)
10. Concerto In A Major For Strings & Harpsichord – III. Allegro (2:18)
11. Concerto In G Minor For Basson, Strings & Hsrpsichord – I. Presto (3:58)
12. Concerto In G Minor For Basson, Strings & Hsrpsichord – II. Largo (3:29)
13. Concerto In G Minor For Basson, Strings & Hsrpsichord – III. Allegro (3:10)
14. Concerto In C Major For Violin, Two Strings Choirs & Two Harpsichords – I. Andante (5:30)
15. Concerto In C Major For Violin, Two Strings Choirs & Two Harpsichords – II. Largo (3:12)
16. Concerto In C Major For Violin, Two Strings Choirs & Two Harpsichords – III. Allegro (5:36)

The Players:
I Solisti Di Zagreb
Antonio Janigro: conductor
Herbert Tachezi: harpsichord

Stereo, ADD, mp3, 320 kbps, 124.78 Mb, 52:58 minutes. Covers & info included.

Part1 —–   Part2