Antonio VIVALDI (1677 - 1741)
Sonate a tre
Sonata for two recorders and bc in e minor (after Sonata in g minor,
RV 72) [7:19]
Sonata for two recorders and bc in E flat (after Sonata in B flat,
op. 1,10, RV 78) [6:11]
Sonata for recorder and bc in b minor (after Sonata in b minor, RV
35) [7:51]
Sonata for two recorders and bc in c minor (after Sonata in g minor,
RV 74) [11:55]
Sonata for two recorders and bc in C (after Sonata in C, op. 1,3, RV
61) [5:37]
Sonata for two recorders and bc in e minor (after Sonata in e minor,
op. 1,2, RV 67) [6:50]
Sonata for recorder and bc in B flat (after Sonata in B flat, RV 46)
[9:25]
Sonata for two recorders and bc in g minor (after Sonata in d minor,
op. 1,12 'La Follia', RV 63) [9:16]
Accademia del Ricercare
(Lorenzo Cavasanti, Manuel Staropoli (recorders), Linda Murgia (cello), Ugo
Nastrucci (theorbo, guitar), Claudia Ferrero (harpsichord))
rec. July 2004 and 2010, S. Sebastiano, Turin, Italy. DDD
BRILLIANT CLASSICS 94173 [64:29] 
Antonio Vivaldi left a large corpus of instrumental music with parts for almost
any instrument in vogue in his time. As he was a violinist himself the concertos
and sonatas for violin are dominant. He hasn't been that kind to recorder
players since the number of pieces for their instrument is rather limited.
This reflects the declining popularity of the recorder in the early decades
of the 18th century. It is telling that a number of chamber concertos which
originally had a part for recorder were later published for transverse flute.
What recorder players can do is arrange music which was originally written
for other instruments. In doing so they link up with a practice which was
already established in Vivaldi's time. Often collections of sonatas were printed
with alternative scorings: they could be played, for instance, on the violin
or the transverse flute. Even if the composer or the publisher didn't indicate
alternative scorings performers took the freedom to adapt the music to their
own instrument. That could include transposition; most players were skilled
enough to do so. This practice has been followed here as well. All music on
this disc was originally composed for one or two violins or - in the case
of the Sonata in B flat (RV 46) - for cello.
As this kind of arrangement is historically justified, the only thing that
matters is whether the results sound well. And they do. The two soloists on
this disc play a whole array of recorders, which allows them to find the most
appropriate instruments in order to do justice to the music and to remain
as close as possible to the original compositions. The recorders are sopranino
recorders in c", alto recorders in f', voice flutes in d' and a third
flute in a'. These are all copies of historical instruments by Thomas Stanesby,
Peter Bressan, Jacob Denner and Thomas Boekhout, dating from the first decades
of the 18th century. Lorenzo Cavasanti and Manuel Staropoli play them brilliantly,
not only in the fast and virtuosic movements - of which there are plenty -
but also in the more introspective and expressive movements. Among them are
the opening adagio of the Sonata in C (RV 61) which contains strong
dissonances, and the second largo from the Sonata in B flat (RV 46)
including some descending chromatic figures. One of the most virtuosic and
sparkling pieces is the Sonata in c minor (RV 74).
The basso continuo is played with fire and passion, with great rhythmic precision
and much imagination. I am not that enthusiasic about the frequent changes
in the scoring of the basso continuo. I don't see why the harpsichord has
to keep silent in a slow and intimate movement. In the last movement of the
Sonata in b minor (RV 35) the cello plays pizzicato, and in combination
with the theorbo I miss a firm foundation. The bass instruments are sometimes
used as percussion in the last item, the variations on 'La Follia' and the
effect is a bit exaggerated. This piece is exuberant enough as it is, and
doesn't need to be pumped up in this way.
This hasn't diminished my enjoyment of this disc which should appeal to both
Vivaldi lovers and recorder aficionados alike. The recorder playing is as
good as one could wish, and Vivaldi's music is compelling and entertaining
as always. The booklet contains short but informative programme notes. The
track-list should have mentioned the original keys.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Should appeal to Vivaldi lovers and recorder aficionados alike.