Antonio VIVALDI (1675-1741)
Concerto for Oboe and Strings in a minor, F. VII, No. 13 [9:30]; in D, F.
VII, No. 10 [7:23]
Concerto for Oboe and Strings in C, F. VII, No. 6 [14:00]; in a minor, F.
VII, No. 5 [9:04]; in F, F. VII, No. 12 [8:34]; in d minor, F. VII, No. 1
[7:59]; in C, F. VII, No. 11 [10:07]; in F, F. VII, No. 2 [7:48]
Alex Klein (oboe)
New Brandenburg Collegium/Anthony Newman
rec. 1-3 September 1993, Performing Arts Center, SUNY, Purchase, NY
CEDILLE CDR 7003 [75:00]
Antonio Vivaldi was once famously derided by Igor Stravinsky for having written
one concerto which he then copied five hundred times. One listen to these
elegant and technically daunting oboe concertos, some of the most demanding
virtuoso pieces of their time, will quickly put Stravinsky’s arrogant comment
to bed.
Precious little is known about Vivaldi’s life. We know that he was the music
teacher at the Ospedale della Pieta in Venice, a publicly-funded institution
for orphaned or abandoned girls. We know that he was a priest and that he
was one of the most prolific and, as these works prove, innovative composers
of his day. He was a beloved teacher and it is assumed that the majority of
his instrumental works were written for the girls in his care. That he created
such abundant and original material, music which challenges modern musicians
even after three hundred years, is testimony to the abilities of Vivaldi as
a teacher and to the talent of his students. There was no other composer writing
music like this for the oboe in his day. Even Tomaso Albinoni, the most famous
oboist in Venice, did not compose concertos of this scope.
Alex Klein, playing on a modern oboe with a modern string band to accompany
him, brings these works to life with great elegance and panache. It is often
said that the oboe is the closest instrument to the human voice. Klein not
only understands brilliant virtuosity, but he is quite capable of singing
with his instrument. His deft handling of the many blazingly fast passages
in these works is astounding not only for the accuracy of his playing, but
also for the apparent ease with which he brings them off. In the slow movements,
and they are all achingly gorgeous, Mr. Klein plays with beautifully arched
phrases and a sweetness of tone that would rival the singing of the late-lamented
Dame Joan Sutherland.
Anthony Newman, long a big name in Baroque music, leads the New Brandenburg
Collegium with an understated elegance that is the perfect accompaniment for
these flashy displays. The strings are warm and immaculately in tune. Mr.
Newman’s harpsichord provides a solid foundation without ever sounding too
busy. Recorded sound is balanced and just reverberant enough to give us warmth
without blur.
At seventy-five minutes, this is a generous program, and one worth many a
repeated listen. Originally issued on the Musical Heritage Label in 1995,
it is a welcome addition to the Cedille catalogue.
Kevin Sutton
Stravinsky got it wrong when he quipped that Vivaldi wrote the same concerto
five hundred times. These elegant and beautifully played show-pieces for oboe
will delight any listener.