![]() ![]() ![]() ![]() The slow movement of the G minor Concerto could almost pass for Handel, while the divine solo theme, so eloquently played by Julien Chauvin in the slow movement of the B flat Concerto (possibly composed as a tribute to the London-based Italian violinist Giovanni Stefano Carbonelli) seems almost as if it were in homage to Purcell. And, to nail that old stupid and ignorant remark firmly into its coffin, I don’t think I’ve heard this particular musical idea in any of Vivaldi’s other works. Take the vivacious idea sent diving through a descending sequential row after around 1:07 in the last movement of the D minor Concerto, and you will hear exactly what I mean. It is undeniable that, to produce so much and often in such a short space of time, Vivaldi did resort to time-saving technical devices (such as repetition and sequence) rather more often than any dullard composition teacher would permit from their students, but the material he subjected to repetition and seemingly infinite rows of sequence was of such freshness, originality and sheer genius, that it not only easily withstands such devices, but positively flourishes under the weight of them. There used to be a stupid and ignorant remark passed around the self-styled progressive musical community (variously attributed to Stravinsky and Dallapiccola) that Vivaldi composed the same concerto 500 times. I am afraid I have lost count of where we are in fulfilling that intention, but I really hope the series never comes to an end in my lifetime, for every new release brings remarkable and unmissable musical wonders, both in terms of musical invention and performance. The original intention was to record all the nearly 450 works contained in the Foà and Giordano collection housed in the National Library of Turin, many of which had never been recorded before or heard in public for two centuries. Naïve’s Vivaldi Edition, now in its 20 th year, has reached volume 63 and the eighth disc devoted to violin concertos. 2019, Galerie dorée, Banque de France, Paris. Le Concert de la Loge/Julien Chauvin (violin) Violin Concerto in B flat, “Il Carbonelli”, Rv366 This set is certainly recommended as a fine example of a modern view of Baroque performance – and it sounds even better on SACD.Support us financially by purchasing this from No 8 in D minor is perhapsthe wildest concerto of the lot, with its extraordinary lines in the first movement, the passionate, mysterious outer sections in the second and the powerful and original figuration inthe finale: that one has a performance to leave you breathless.Īnother thing Podger is specially good at is the shaping of those numerous passages of Vivaldian sequences, which can be drearily predictable, but aren't so here because she knows just how to control the rhythmic tension and time the climax and resolution with logic and force. But perhaps even more enjoyable isthe exquisitely fine detail of some of the slow movements. There are plenty of movements here where her sheer digital dexterity is astonishing – for instance, the finale of No 6, with its scurrying figures, the second movement of No 7 or the finale of No 2 with its repetitive figures and leaping arpeggios. That said, however, these performances by Rachel Podger are crackling with vitality and executed with consistent brilliance as well as a kind of relish in virtuosity that catches the showy spirit, the self-conscious extravagance, of this particular set of works. And they aren't helped by the resonant acoustic of the church in Poland used for the recording, which produces a full and bright sound but a boomy bass and less clear a texture than might be ideal. But anyone who's admired earlier recordings with period instruments may find these a little extravagant and hard-hitting. Perhaps here it's intended to reflect Vivaldi's own notorious freedom of performance. There's a current trend in Baroque performance to get away from the cool- ness and objectivity which for a long time were supposed (on the whole, mistakenly) to be a part of performing practice of the time, but possibly the pendulum has swung a little wildly the other way. Still less so in performances as high in voltage as the present ones. It's heady music, and listening to its 12 concertos at a sitting, isn't a mode of listening one would recommend. $ īy the standards of the average Vivaldi violin concerto, the La stravaganza set is quite extravagant stuff, full of fantasy and experiment – novel sounds, ingenious textures, exploratory melodic lines, original types of figuration, unorthodox forms. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |