Antonio VIVALDI (1678 - 1741)
Concertos for Strings
Concerto in C (RV 114) [5:55]
Sonata a 4 in E flat 'Al Santo Sepolcro' (RV 130) [4:16]
Concerto in g minor (RV 152) [6:21]
Concerto in d minor (RV 128) [5:28]
Concerto in d minor 'Concerto madrigalesco' (RV 129) [4:22]
Sinfonia from La Senna festeggiante in C (RV 693) [7:06]
Concerto in f minor (RV 143) [6:22]
Concerto in g minor (RV 157) [6:17]
Concerto in e minor (RV 134) [6:06]
Concerto in A (RV 158) [7:49]
Arte dei Suonatori
rec. October 2009, Church of the High Catholic Seminary, Goscikowo-Paradyz,
BIS BIS-CD-1845 [61:53]
Most discs devoted to the oeuvre of Vivaldi are
filled with solo concertos. The focus of this recording is the corpus
of concertos for strings and basso continuo, without any solo parts.
These are sometimes called ripieno concertos, a term Vivaldi
himself used in three of them. He composed almost fifty such pieces
throughout his career. They are quite different in character, but they
have in common that they were written for a string ensemble of some
size, rather than one instrument per part. In this genre Vivaldi links
to a genre which was popular in the last decades of the 17th century,
especially in northern Italy.
A collection of twelve ripieno concertos is preserved in manuscript
in the library of the Paris Conservatoire. These may have been the result
of a commission by a French music-lover. They include some features
of the French style, especially dotted rhythms. The Concertos in
C (RV 114) and in g minor (RV 157) belong to this group.
The latter is one of the most famous from this part of Vivaldi's oeuvre.
In particular the two fast movements are irresistible, and are played
here with infectuous enthusiasm. The tempi are up for debate; I have
heard them faster, but they also make their mark at this more moderate
Some of Vivaldi's ripieno concertos may have been used as sinfonias
to vocal compositions. That is established in the case of the Sinfonia
in C which introduces the second part of the serenata La Senna
festeggiante (RV 693). Here Vivaldi uses the two fast movements
from the Concerto in C (RV 117), with a new slow movement. The
fast movements are vintage Vivaldi, whereas the slow movement is highly
expressive. The Concerto in e minor (RV 134) has also been used
as a sinfonia as the autograph score indicates, but it has not been
established as yet for which vocal work it was used. The opening movement
is remarkable for the dominant role of chromaticism.
Vivaldi has written several pieces with the addition al Santo Sepolcro.
This refers to a practice in Vienna of performing sepulchre oratorios
during Holy Week. In his liner-notes Michael Talbot expresses doubt
whether these works were written for such performances. He believes
Vivaldi might have written them to show his ability to compose in this
genre and to invite commissions from Vienna. The fact that a piece on
this disc is called 'sonata' means nothing; it seems that Vivaldi used
the terms 'concerto' and 'sonata' more or less indiscriminately.
The Concerto Madrigalesco in d minor (RV 129) is the only piece
here which is performed with solo strings, without keyboard. Three of
the four movements are arrangements of sections from two vocal pieces
by Vivaldi, the Magnificat RV 611 and the Kyrie RV 687.
The four players perform it with precision and refinement. Very different
is the last piece in the programme, the Concerto in A (RV 158)
which is a work from the latest stage of Vivaldi's career. Here he embraces
the galant idiom which had gained ground at that time. The last movement
is particularly brilliant, bringing this disc to a sparkling close.
The string concertos are often used as fillers on discs or as breathing
spaces in programmes with solo concertos. There is no problem with that
whatsoever but it does them scant justice. It is nice that Arte dei
Suonatori has devoted a complete disc to the genre. It was founded in
1993 and during the last ten years or so has developed into one of the
leading European baroque ensembles. It produces a very beautiful and
warm sound, and delivers engaging performances, without lapsing into
exaggeration and mannerism. Its playing is vivid and fresh, and this
repertoire is perfectly suited to showing their qualities. However,
this disc's main virtue is that it shows Vivaldi's imagination and the
diversity created within this genre.
Johan van Veen