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Vivaldi - Trio Sonatas Op.I / VII-XII (L’Arte dell’Arco)

Posted By: Sowulo
Vivaldi - Trio Sonatas Op.I / VII-XII (L’Arte dell’Arco)

Vivaldi - Trio Sonatas Op.I / VII-XII (L’Arte dell’Arco) [2014 / 1997]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 1cd, 283 MB
Classical | Label: DHM | Catalog Number: 88843 02161 | TT: 54’23

At first glance, this looks like the concluding volume of a complete recording of Vivaldi’s Op. 1. But, as Michael Talbot points out in a characteristically interesting and informative note, the stronger works are concentrated within the second half of the set. Among them is the best known of the Trios from the collection, the 20 variations on the theme of Spanish origin, La follia.

Only recently I reported favourably on performances of Vivaldi and Tartini by the ensemble L’Arte dell’Arco (Dynamic, 10/97 and 11/97 respectively). The period-instrument group was founded in 1994 and has so far focused its attention on Venetian music, both familiar and less familiar. As I remarked in the previous reviews, the instruments are tuned fractionally higher than today’s concert pitch, rather than the lower A=415, around which most current period-instrument groups prefer to hover. Recent research points to a Venetian tradition of a higher, therefore brighter, pitch in the seventeenth and eighteenth centuries. Another feature of the recording lies in the instruments themselves, which belong to the collection of the Ospedale della Pieta with which Vivaldi was associated, on and off, throughout his working life.

In almost every respect the performances are more appealing than any previous ones that I have heard. For one thing, far greater consideration is given to instrumental sonority and interplay, and for another, careful thought has gone into the punctuation and phrasing of the music. In this way the listener is at once engaged both in the gesture and oratory of these beautifully crafted pieces. Vivaldi’s layout of movements, in all but the last sonata of the set, loosely conforms with that of a typical sonata da camera and, within his chosen schemes, he injects all the expressive contrasts and rhythmic vitality which characterize his concertos. L’Arte dell’Arco sensibly, and to some effect, ring the changes of colour and texture in the basso continuo; cello, theorbo, harpsichord and chamber organ are all called upon but, in one of the sonatas, the two violins are supported by cello, without either keyboard or plucked string. Such a practice may well have been more widespread in Italy than was once supposed and is later borne out in the majority of Tartini’s violin sonatas which were published without figured bass and in some cases with a bass part that was added as an afterthought.

In summary, this is a stimulating release by an ensemble from whom I look forward to hearing more. With Christopher Hogwood’s exemplary keyboard continuo realizations and tasteful judgement the future augurs well. Recommended.

– Nicholas Anderson, Gramophone [5/1998].

Performer:
L’Arte dell’Arco
Federico Guglielmo, solo violin I
Giovanni Guglielmo, solo violin II
Pietro Bosna, violoncello
Federico Marincola, theorbo
Christopher Hogwood, harpsichord & chamber organ

Tracklisting:
01. Sonata VII
02. Sonata VIII
03. Sonata IX
04. Sonata X
05. Sonata XI
06. Sonata XII "Follia"

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 9. June 2014, 15:59

Christopher Hogwood - L'Arte dell'Arco / Vivaldi - Suonate da camera a tre Op.I Nos. VII-XII

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