Antonio VIVALDI (1678 - 1741)
La Cetra II - Vol. 2
Concerto for violin, strings and bc in B flat (RV 380) [11:27]
Concerto for 2 violins, strings and bc in B flat (RV 526) [8:20]
Concerto for violin, strings and bc in C (RV 183) [9:15]
Concerto for violin, strings and bc in g minor (RV 327) [11:40]
Concerto for violin, strings and bc in C (RV 171) [10:30]
Concerto for 2 violins, strings and bc in A (RV 520) [9:19]
Federico Guglielmo, Carlo Lazari (violin)
L'Arte dell'Arco/Giovanni Guglielmo (violin)
rec. 11-13, 18-20 June 1995, Oratory of S. Nicola, Vicenza, Italy. DDD
DYNAMIC DM8031 [60:33]
Antonio VIVALDI (1678 - 1741)
6 Concerti a Due Violini
Concerto for 2 violins, strings and bc in a minor (RV 523) [10:36]
Concerto for 2 violins, strings and bc in D (RV 513) [15:23]
Concerto for 2 violins, strings and bc in G (RV 516) [9:54]
Concerto for 2 violins, strings and bc in C (RV 506) [10:54]
Concerto for 2 violins, strings and bc in c minor (RV 509) [10:45]
Concerto for 2 violins, strings and bc in d (RV 514) [11:31]
Federico Guglielmo, Carlo Lazari (violin)
L'Arte dell'Arco/Giovanni Guglielmo (violin)
rec. January 1996, Villa Cordellina, Altavilla Vicentina, Italy. DDD
DYNAMIC DM8014 [69:03]
Vivaldi's oeuvre includes two collections of twelve concertos each, which
bear the title of La Cetra (the lyre), and were dedicated to the Habsburg
Emperor Charles VI. The first was printed in 1727 in Amsterdam as his op.9,
the second has been preserved in manuscript. The liner-notes say that the
concertos in both collections are all different, with the exception of the
twelfth, "which is common to both". That concerto is included here and is
for two violins, and has the catalogue number RV 520. However, the twelfth
concerto from op. 9 has the number RV 391 and is scored for one violin. As
the catalogue in the article on Vivaldi in New Grove doesn't include
references to the manuscript collection La Cetra I can't solve this
mystery.
The first disc to be reviewed here is the second devoted to this unpublished
collection. Some of these concertos are incomplete, and these have been replaced
here by alternative concertos from Vivaldi's large output. The Concerto
in B flat (RV 380) replaces the Concerto RV 360 in the same key.
The Concerto in g minor (RV 327) replaces the 8th concerto from the
manuscript (RV 320) and the Concerto in C (RV 171) is included as a
substitute for the Concerto in D (RV 203).
The Concerto RV 327 is the most virtuosic of them all, a typical Vivaldian
showpiece. The other concertos are more moderate in their technical requirements.
Some slow movements display strong expression, for instance the largo from
RV 171. These aspects are mostly worked out pretty well, but in the fast movements
the playing has some rough edges, and the tutti sections are sometimes a little
abrasive, even aggressive. The intonation is not always perfect.
This disc also includes two concertos for two violins. These are the two concertos
from this manuscript collection so scored. According to the liner-notes by
Fabrizio Ammetto to his recording of concertos for two violins by Vivaldi
(review)
the parts for the first solo violin of both concertos are missing, a fact
not mentioned in the liner-notes of the Dynamic disc. Therefore some reconstruction
is needed, but who has done that job and how remains a mystery. In both concertos
the middle movement is scored for the two violins with basso continuo alone.
Ammetto's performances are to be preferred in these concertos. They are technically
superior and the sound is more pleasant to the ear. That also goes for the
Concerto in D (RV 513) which is included on the second disc of L'Arte
dell'Arco. It is entirely devoted to concertos for two violins, of which Vivaldi
composed 28. Some of these works may have been written as part of Vivaldi's
activities as teacher in the Ospedale della Pietà in Venice. An example
could be the Concerto in C (RV 506) in which the second violin mostly
repeats the statements of the first. In various concertos the two solo parts
are so demanding that they can only be played by virtuosos such as Vivaldi
himself. Fabrizio Ammetto, in the liner-notes to the Tactus recording, comes
up with the suggestion that Vivaldi could have played them with his father,
Giovanni Battista, a skilled professional violinist and probably his only
formal teacher.
These double concertos are not that well represented in the Vivaldi discography,
and it is a matter of good fortune that this disc includes five concertos
which are not part of the Tactus production. L'Arte dell'Arco begin with the
Concerto in a minor (RV 523) in which the violins mainly play at the
high end of their compass. It reveals the main weakness of these performances:
the intonation, in particular at high notes, is often a little suspect. The
violinists produce a bright tone which sometimes tends towards shrill. The
Concerto in G (RV 516) is called bright and lively, but the andante
has some dark streaks. The tempo seems to be a little too slow, considering
the indication of 'molto andante'. The Concerto in c minor (RV 509)
is considered a work from Vivaldi's later years. There are indeed some traces
of a 'post-baroque' fashion, including strong dynamic contrasts. Again I find
the andante molto a shade too slow. The Concerto in D (RV 513) is one
of the most virtuosic pieces and the only which was printed - apart from the
concertos which were included in Vivaldi's op. 3 collection. The edition dates
from 1736 but the concerto was probably written about ten years earlier. The
written-out cadenza for both violins in the last movement is especially remarkable
and includes various modulations. The disc ends with another showpiece, the
Concerto in d minor (RV 514). It is an extroverted work, and the adagio
is quite expressive. That character comes off well here.
L'Arte dell'Arco perform these concertos with one instrument per part. That
results in a fragile sound in which every little lapse is noticeable. Fabrizio
Ammetto and his Orfeo Ensemble have four violins in the tutti which results
in a more robust sound and a stronger contrast between soli and tutti. As
the size of the ensembles seems to have been variable at the time there is
some justification for both options.
On balance, L'Arte dell'Arco deliver performances which can be enjoyed if
you are willing to be tolerant in regard to some technical imperfections and
a sound which is not always that pleasant to the ear. Considering the fact
that this repertoire is a little neglected these two Dynamic discs are to
be considered, especially by those who have a special interest in Vivaldi.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Performances which can be enjoyed if you are willing to be tolerant in regard
to some technical imperfections.
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