RECORD OF MONTH
Antonio VIVALDI (1678 - 1741)
The Complete Cello Sonatas
CD 1
Sonata in B flat (RV 47) [12:44]
Sonata in a minor (RV 44) [11:23]
Sonata in B flat (RV 45) [13:55]
Sonata in E flat (RV 39) [12:43]
Sonata in g minor (RV 42) [14:49]
CD 2
Sonata in e minor (RV 40) [11:15]
Sonata in F (RV 41) [12:39]
Sonata in B flat (RV 46) [10:48]
Sonata in a minor (RV 43) [15:19]
David Watkin (cello), Helen Gough (cello continuo), David Miller (theorbo,
archlute, guitar), Robert King (harpsichord, organ)
rec. November 1993, Orford Church, Suffolk, UK. DDD
HYPERION DYAD CDD22065 [65:35 + 50:02] 
Vivaldi composed music for almost any instrument in vogue during his time.
He gave special attention to the violin, his own instrument which he taught
at the Ospedale della Pietà in Venice. It is assumed that he was also acquainted
with most other string instruments, including the cello. His compositions
show that he was well aware of its idiosyncrasies. He composed a large number
of solo concertos for the cello. In comparison the number of solo sonatas
is limited: the catalogue of his works includes just nine authentic pieces
for cello and basso continuo. It is very likely he has written more, and a
part of his output in this department has been lost.
Vivaldi didn't bother to publish his cello sonatas. Six sonatas have been
published in Paris by Charles-Nicolas Le Clerc in the late 1730s. It is likely
this happened without Vivaldi's knowledge. The publisher tried to exploit
the popularity of the cello in France at the time, and simply put together
six sonatas which were circulating in manuscript. This seems even more likely
because of the fact that no less than three sonatas are in the same key -
B flat - something composers tried to avoid. Some sonatas may originally have
been written for the pupils of the Ospedale, others were the result of commissions
by dilettantes, mostly aristocrats. One of them could have been Count Rudolf
Franz Erwein von Schönborn, for whom Giovanni Benedetto Platti also composed
a considerable number of pieces. The Sonatas in g minor (RV 42) and
in B flat (RV 46) are included in the library of the Counts of Schönborn-Wiesentheid.
These two sonatas begin with a preludio, which is followed by three movements
with dance titles: allemanda, sarabanda, gigue or corrente. In that respect
they follow the model of the sonata da camera, whereas the other sonatas
are in the style of the sonata da chiesa. That doesn't mean there is
any real difference between the two categories. The Sonata RV 46 is also part
of the collection published in Paris, and here the dance titles don't appear.
Whereas some of Vivaldi's compositions for violin give the impression of being
virtuosic for virtuosity's sake, that is not the case with these cello sonatas.
They are all of great substance, and the slow movements are particularly expressive.
Examples are the second largos of the Sonatas in a minor (RV 44) and
in B flat (RV 45). The most expressive of them all is probably the
second largo of the Sonata in B flat (RV 46). In this movement the
solo cello is accompanied by the continuo cello alone. Otherwise the basso
continuo is performed with cello, theorbo, archlute, guitar, harpsichord and
organ in various combinations. This gives the opportunity to adapt the scoring
of the basso continuo to the character of the various sonatas, and that opportunity
has been used to good effect. The slow movements are given profound interpretations
by David Watkin and the basso continuo group, all members of The King's Consort.
The fast movements come off just as well, and the often pronounced rhythms
are perfectly realized. The closing allegro of the Sonata RV 44 is
an eloquent example, and the first allegro from the Sonata in a minor (RV
43) even more so. The clear distinction between good and bad notes and
the subtle but effective dynamic shades are instrumental in realising the
often sparkling nature of the fast movements.
This set was first released in 1995. More than 15 years later it can still
hold its ground. Those who didn’t purchase these discs should not hesitate
to do so now that they have been reissued at bargain price. The booklet contains
an essay with all the necessary information by the Vivaldi scholar Michael
Talbot.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Don’t delay; purchase this reissue today.