Some time after 1710 it is thought that Vivaldi devised
the form of the Chamber concerto. This allowed a small
group of talented players to display their virtuosity in a similar
way to that of a single soloist in the Concerto form.
Compared to his solo concertos with orchestra Vivaldi’s works
for more than one solo instrument to a part and basso continuo
represent only a small section of his output. The catalogue
of Vivaldi’s works published by Peter Ryom (RV) lists some forty
such compositions. Of these scores twenty-three of them are
found in the extensive collection of autographed Vivaldi manuscripts
held at the Bibliotec Nazionale in Turin which makes them of
indisputable authenticity.
In a practical sense the Chamber concerto could
be easily utilised for recreational purposes in a variety of
surrounding both public and private. Vivaldi spent a considerable
portion of his career as the music instructor at the Seminario
musicale dell’Ospedale della Pieta in Venice. At this home for
destitute and orphaned girls, Vivaldi instructed his charges
in music, directed their orchestra, and wrote numerous pieces
for the girls to perform. It would have made considerable practical
sense for Vivaldi to have used the facilities at the Ospedale
della Pieta for the performance of Chamber concertos for
private concerts attended by governors, their wives and various
guests.
Woodwind instruments - the recorder, flute, bassoon and
oboe feature prominently in Vivaldi’s Chamber concertos and
it is known that there were several skilled female woodwind
players at the Ospedale della Pieta who would have undoubtedly
relished the challenge to demonstrate their virtuosity. However
looking further afield it is known that the crown prince Friedrich
August of Saxony-Poland stayed in Venice in 1716-17 and brought
with him a select group of his court musicians who would have
provided an excellent nucleus for the performance of Vivaldi’s
Chamber concertos. Another slightly later destination
for them was the court of the distinguished Cardinal
Pietro Ottoboni who was a most important patron of the arts
in both Venice and in Rome.
It would be a mistake to link the Turin collection of
manuscripts solely with the Vivaldi’s employment at the Ospedale;
although they are closely connected. Vivaldi travelled considerably
and received commissions from amateur musicians and wealthy
patrons alike therefore some of his Chamber concertos were
clearly intended for use further afield.
What
is particularly impressive in this selection of chamber works
is how Vivaldi finds such a wide variety of expression and a
kaleidoscope of colours. There is a free-flowing stream of joy
and invention in these works that is a testament to Vivaldi’s
art.
The
well-known Concerto La Pastorella (The Shepherdess) for
recorder, oboe, violin, bassoon and continuo in D major, RV95
is one of only four Chamber concertos to which Vivaldi gave a descriptive title.
These titles are to be considered as mood-pictures rather than
descriptive narratives such as Vivaldi used in his Il Cimento
dell' Armonia e dell'invenzione (The trial of harmony and
invention) Opus 8 set of concertos for violin, strings and basso
continuo that consists of twelve concertos, seven of which
were descriptive: The Four Seasons group, Storm at
Sea, Pleasure and The Hunt. The implied rusticity
in the score conveyed by Vivaldi’s frequent use of pedal-notes
is suggestive of bagpipes and also by subtle allusion, both
melodic and rhythmic, to folk music. In La Pastorella Pamela Thorby has elected to
use a period copy of an alto recorder.
Vivaldi
wrote the superb Concerto for recorder, oboe and bassoon in
G minor, RV 103 on three staves only and it is thought that
this is a work intended for performance without basso continuo
support. In terms of prominence of instrumental parts the work
has a mixed character; functional and expressive. Here and in
RV 86 and 105 Ms Thorby uses a period copy of a voice flute
(flauto di voce) which is a type of baroque recorder pitched
in D.
The
Sonata for flute, violin, cello and continuo in C major, RV
801 is allocated a high RV number indicative of the fact that
the work is a recent authentication; the authorship having once
been attributed to G.F. Handel. The work is undoubtedly an early
composition and is called a sonata not a concerto
probably because it opens with a full-length slow movement whereas
concertos usually commence with an allegro.
In
the Concerto for recorder, oboe, violin, bassoon and continuo
in G minor, RV 105 each instrument is given a particularly well
defined character. Vivaldi composed the Trio for lute, violin
and continuo in C major, RV 82 as one of a series for the Court
of Count Johann
Von Wrtby in Bohemia around 1729-30. The principal instrument
in this score is the lute supported by both the violin and the
basso continuo. It has been suggested that the violin
part could have been designed to be played by an fine amateur
player such as Count Wrtby. The Sonata for recorder, bassoon and continuo in A minor,
RV 86 is the only work that Vivaldi composed for this instrumental
combination. The score, described as a sonata, demands
the highest virtuosity from both the recorder and the bassoon
soloists and has the attributes of a concerto.
The ensemble Fiori Musicali, founded over twenty years
ago, perform under the direction of their harpsichord and organist
Penelope Rapson. The chamber ensemble play on instruments authentic
to the period or use modern copies and employ historically aware
performance practice. Although Vivaldi uses a variety of instruments in these
six Chamber concertos the recorder takes centre-stage
in four of the works. I
have been thrilled with the playing of some very exceptional
recorder performers over the years, principally Laszlo Czidra,
Frans Brüggen, Laszlo Kecskemeti, Gudrun Heyens, Michala Petri,
Michael Schneider, Marion Verbruggen and more recently the talented
Ashley Solomon, Piers Adams and Emmanuel Pahud.
Fiori Musicali’s recorder soloist Pamela Thorby is a
fine performer and an experienced teacher who has made several
recordings, perhaps the best known being her acclaimed accounts
of the Handel Recorder Sonatas with harpsichordist Richard Egarr
on Linn Records CKD223. However on this release I do not find
her on her best form. There seems to be a surprising lack of
technical security as she struggles to tame her instrument and
match the undoubted prowess of her fellow performers. Her performance
is hindered by appearing unable to sustain her breath control
during several difficult passages and at times the tone from
the chosen recorders comes across to me as most unpleasant.
The sound engineers have placed the recorder too close to the
microphone and this certainly does the soloist no favours.
The bassoon is an instrument that is not always given
the credit it deserves and it features on four of the works
here. I must single out bassoonist Sally Holman for her expert
solo contribution: her watertight technique and rich tone are
exceptional. It is difficult
not to be impressed by American oboist Gail Hennessy who features
on three of the works. She is a player of the highest quality
with the ability to put aside the technical demands of her period
instrument and in these works exhibits virtuoso playing out
of the top drawer.
Those looking for expertly performed selections of Vivaldi
Chamber concertos should consider the budget recordings:
“La Pastorella and other Chamber Concertos” by The Chandos
Baroque Players on Hyperion Helios CDH55102 and the Six Chamber
Concertos by the London Harpsichord Ensemble on Regis RRC
1037.
Fascinating and most attractive compact scores from Vivaldi
but not presented at their best.
Michael
Cookson