This is a reissue of a disc originally released in the 1990s,
performed on period instruments. The difference in pitch with
modern instrument recordings is notable and gives a darker feeling
to the sound than the brightness one has become accustomed to
with the modern flute. In this recording, Konrad Hünteler uses
an instrument made by Jacob Denner, which was approximately ten
years old when these works were composed. The recording is made
using only the natural acoustics of the space with no added technological
trickery, and as such, it serves to provide an interesting example
of what this music may have sounded like at the time Vivaldi composed
it.
These
concertos have been recorded many times by a range of different
performers, but my feeling is that Hünteler’s authentic performance
approach provides a scholarly interpretation which offers much
insight and thought. The sleeve-notes are informative and well
written, and the disc as a whole provides a satisfying educational
experience, as well as being highly entertaining.
The
recording is well balanced and the darker sonority of the low
pitch allows for a strong bass end to the ensemble. The performers
achieve an enjoyable range of timbres and colours, and the faster
movements (most notably the first movement of Il Gardellino)
are allowed to sparkle. This is characterful playing, and I
am amazed by the range within the music; I have heard these
concertos hundreds of times, played by both students and professionals,
and I can honestly say that I have never heard a performance
on a modern instrument which shows such range of tone colour,
mood and musical interest. I am not an early music afficianado
and have no particularly strong feelings either way about whether
period or modern instruments should be used. A well informed
historically accurate performance is interesting as an academic
exercise, and I am generally of the opinion that a modern instrument
performance is equally valid in terms of giving the music a
continued life. However, I do believe, most passionately, that
performances should have something to say, and this particular
performance has completely changed my opinion of these concertos,
and allowed me to see the musical depth contained within them.
The
playing is excellent throughout and highly convincing. The ensemble
supports the soloist well and there is an overall sense of unity
between the performers. The small forces used mean that the
solo line is always allowed space to be clearly heard. The slow
movements are expressive, sensitively played and well ornamented,
while the allegro movements have sparkle and drive.
Carla Rees
Konrad Hünteler (flute), Camerata of the 18th Century
