This is a most attractive
set from the Naïve Opus 111 label’s
continuing and most successful Vivaldi
series with their usual well-presented
designer cover. As a change from the
usual nubile model(s) this time the
artwork shows a young man with magpie
against a vivid scarlet background.
There are no bland and lacklustre performances
here! Just joyful and positive musical
experiences!
With considerable passion
and affection these ‘new kids on the
block’ have become exceptionally proficient
and extremely comfortable with Vivaldi’s
technical demands; freer now to demonstrate
their considerable individual and collective
styles in an abundance of outstanding
recent interpretations.
Here are a dozen of
the fifty-nine concertos that Vivaldi
composed for string orchestra without
a solo protagonist. This absence of
the constraints of writing for a pronounced
individual voice and all the extrovert
display that necessitates allows Vivaldi
to concentrate on purely orchestral
matters. Vivaldi, a master of rhythmic
and melodic resources, knew how to achieve
the maximum effect from often concise
orchestral forces.
Each of the twelve
concertos (bar the four movement RV
129 ‘Madrigalesco’) adheres to Vivaldi’s
typical three movement Allegro-Adagio-Allegro
format. This approach admits of bountiful
and original episodes of rhythm, harmony
and melody all in his own personal language.
It is Vivaldi’s central (Adagio,
Andante and Largo) movements
that can often make the deepest impression.
I often marvel at his genius in consistently
delivering expression, charm and depth.
Perhaps lacking the stimulation of writing
for a solo instrument, cumulatively
these brief slow movements are not the
finest or most inspiring Vivaldi has
written. Individually RV121, 129, 154,
115 and 143 are meditative if largely
uninspiring; mood rather than melody
here. The slow movements from the concertos
RV120, 156, 123 are particularly fine
examples with considerable melody and
poignancy. The central movements from
the two concertos RV158 and 141 are
very different and are swifter than
the others.
I really loved the
brilliant Allegros that contain
two violins sometimes closely in unison
(opening movement of RV159 and the third
movement of RV121) and then on occasions
in open conflict (opening movement RV114,
115, 153, third movement of RV154, 159).
It is fascinating and effective when
Vivaldi displays his mastery of the
fugal form as he does on several
occasions (third movement RV 114, 120,
153, second and fourth movement RV154
and opening movement RV143). Director
and harpsichordist Rinaldo Alessandrini
points out that the significant use
of fugal writing sees Vivaldi
taking the opportunity to considerably
vary the expressive atmosphere of the
scores. The opening movement Allegro
molto from concerto RV158, with
its attractive main theme, is magnificent
and could easily be used as the music
to a TV or radio programme.
The award-winning artists
marvellously demonstrate Vivaldi’s genius
for richness of orchestral palette,
musical invention and poetic energy.
Another sure-fire winner!
Michael Cookson