You say Vivaldi and immediately it reminds me of the countless concerti: less than 500, above all for violin, but not only. It is also true that many times the prince of strings plays the lord and master as a soloist. However the Red Priest wrote many other pieces for different instruments, in many cases unusual for the time, from the piccolo to the bassoon, from the mandolin to the viola d’amore, besides those more predictable such as the cello, the flute, the transverse flute or the oboe. Apart from concerti for two orchestras, the group one and the chamber one, we have to remember concerti for two or more instruments, obviously with the string orchestra. It is to this last category that belong the plays recorded here: Concerti RV 541 and 542 in D minor and in F major are pieces for organ and violin, while Concerti RV 766 and 767 in C minor and in F major are the arrangements, with few variations, of Concerti RV 510 and 765, originally for two violins. The first was played all’italiana, while the last one, as usual at the time, was transposed from one instrument to another, often for practical reasons. Instead it is different the case of Concerto in C major RV 554, because it provides a violin, oboe and organ ensemble as a concert-soloist or for two violins and an organ. Constant is the modus operandi with two fast movements framing a slower tempo, as well as, in fast tempos, it is also usual a series of soloist episodes and tutti. In Concerto RV 541 after a soaring Allegro, the central grave raises for the richness of harmonies and the typical Venetian color, thanks to the violin melancholy accompanied by the organ. Lastly prevails a fluent proceeding, like a dancing, with the violin and the organ linked in mocking games. The same observations are also worth for RV 542, peaceful and bright work of 1720/24, which slow tempo, divided into three parts and in major, strikes for its gentleness. So that the brightness in the finale rises up even clearer. A round writing prevails in the concise RV 766, in which it is significant the virtuosity of the violin, similarly in the beginning of RV 767 with its Larghetto and the Allegro in the end, Vivaldi’s unmistakable signature. It is important to underline as for the longer RV 554, the opulence and the roundness of the writing, due to the three instruments as soloists, while the slow tempo seduces for the grace.
In the end a mention to the Sonata RV 779, written in 1709/10, when a new organ was placed in Santa Maria della Pietà. We also know the orphans’ identity of this church: Prudenza (violin), Pelegrina (oboe), Lucietta (organ) and Candida (chalumeau). Practically it is a piece for an instrumental quartet, divided in the four movements of the so-called Sonata da chiesa barocca (Andante-Allegro-Largo-Allegro). Vivaldi afterwards edited the orchestration of this work, whose manuscript is nowadays in Dresden.
Francesca Odling, traversiere. Svetlana Fomina, Enrico Groppo, violini solisti. Bruno Raspini, Giorgia Lenzi, Giuliana Toselli, Giulia Manfredini, violini. Gabriele Cervia, Sara Audenino, viole. Nicola Brovelli, violoncello. Roberto Bevilacqua, contrabbasso. Massimo Lombardi, tiorba e chitarra barocca. Gianluca Cagnani, organo e direzione.
Additional info about this CD
Recorded in Torino, Italia, nel 2017
16 pages full colour booklet (Ita and Eng)
Full organ specs card included
|1||Concerto in Re minore RV 541||Allegro
|4||Concerto in Fa maggiore RV 542||[Allegro]||[4’18”]|
|7||Concerto in Do maggiore RV 554a||[Allegro]||[5’04”]|
|10||Concerto in Do minore RV 766||Allegro||[3’07”]|
|13||Concerto in Fa maggiore RV 767||Allegro||[3’48”]|
|16||Sonata RV 779||Andante||[4’20”]|
|18||Largo e cantabile||[2’23”]|