What’s Next Vivaldi
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Label: Alpha
Cat No: ALPHA624
Format: CD
Number of Discs: 1
Release Date: 11th September 2020
Contents
Works
Duos (44) for two violins, Sz98 » Book 3: no.36 Szol a Duda (Bagpipes)
EstrosoSpiccato il volo for solo violin
Incanto XIX
Moghul
Dilanio avvinto
Concerto in G minor, RV157
Concertos (12), op.3 'L'estro armonico'
» no.4 in E minor for 4 violins, RV550
Violin Concerto in C major, RV191Violin Concerto in D major, RV208 'Il Grosso Mogul'
Violin Concertos (12), op.8 'Il cimento dell'armonia e dell'inventione'
» no.5 in E flat major, RV253 'La tempesta di mare'
Artists
Patricia Kopatchinskaja (violin)Il Giardino Armonico
Conductor
Giovanni AntoniniWorks
Duos (44) for two violins, Sz98 » Book 3: no.36 Szol a Duda (Bagpipes)
EstrosoSpiccato il volo for solo violin
Incanto XIX
Moghul
Dilanio avvinto
Concerto in G minor, RV157
Concertos (12), op.3 'L'estro armonico'
» no.4 in E minor for 4 violins, RV550
Violin Concerto in C major, RV191Violin Concerto in D major, RV208 'Il Grosso Mogul'
Violin Concertos (12), op.8 'Il cimento dell'armonia e dell'inventione'
» no.5 in E flat major, RV253 'La tempesta di mare'
Artists
Patricia Kopatchinskaja (violin)Il Giardino Armonico
Conductor
Giovanni AntoniniAbout
Giovanni Antonini and his ensemble Il Giardino Armonico celebrate the composer who made them famous: Antonio Vivaldi. Their recordings of The Four Seasons and Cecilia Bartoli’s famous first Vivaldi recital left an indelible mark on the discography of the Red-haired Priest! Their musical fireworks display continues with a programme of concertos that is bound to provoke strong reactions, since it is the result of a meeting with a musician who is equally adept at shifting boundaries, the violinist Patricia Kopatchinskaja. Together they have devised a programme entitled What’s Next Vivaldi?, which interweaves ultra-virtuosic concertos by Vivaldi (Il Grosso Mogul RV208, La Tempesta di Mare (for violin!) RV253, and RV157, 191, 550 among others) with, between each concerto, short pieces written by much more recent composers, Luca Francesconi, Simone Movio, Marco Stroppa, Aureliano Cattaneo and Giovanni Sollima, and mostly commissioned by Patricia Kopatchinskaja especially for this programme.
Sound/Video
Paused
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1Vivaldi: Violin Concerto in E flat, op.8/5, RV253 'La Tempesta di Mare': 1. Presto
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2Vivaldi: Violin Concerto in E flat, op.8/5, RV253 'La Tempesta di Mare': 2. Largo
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3Vivaldi: Violin Concerto in E flat, op.8/5, RV253 'La Tempesta di Mare': 3. Presto
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4Lazzo parlante
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5Cattaneo: Estroso, for violin, recorder, strings, theorbo and harpsichord
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6Vivaldi: Concerto G minor, RV157: 1. Allegro
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7Vivaldi: Concerto G minor, RV157: 2. Largo
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8Vivaldi: Concerto G minor, RV157: 3. Allegro
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9Francesconi: Spiccato il volo, for solo violin
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10Vivaldi: Violin Concerto in C, RV191: 1. Allegro ma poco
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11Vivaldi: Violin Concerto in C, RV191: 2. Largo
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12Vivaldi: Violin Concerto in C, RV191: 3. Allegro ma poco
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13Movio: Incanto XIX, for recorder, violin and strings
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14Vivaldi: Concerto in E minor for four violins, op.3/4, RV550: 1. Andante
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15Vivaldi: Concerto in E minor for four violins, op.3/4, RV550: 2. Allegro assai
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16Vivaldi: Concerto in E minor for four violins, op.3/4, RV550: 3. Adagio
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17Vivaldi: Concerto in E minor for four violins, op.3/4, RV550: 4. Andante
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18Stroppa: Dilano avvinto, for recorder and two violins
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19Sollima: Moghul, for violin, recorder, strings and basso continuo
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20Vivaldi: Violin Concerto in D, RV208 'Il Grosso Mogul': 1. Allegro (cadenza by A. Vivaldi)
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21Vivaldi: Violin Concerto in D, RV208 'Il Grosso Mogul': 2. Grave. Recitativo
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22Vivaldi: Violin Concerto in D, RV208 ‘Il Grosso Mogul’: 3. Allegro (cadenza by A. Vivaldi)
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23Bartók: Szól a Duda (The Bagpipe), for recorder and violin
Europadisc Review
To what extent do musicians and audiences have to choose between maintaining or rediscovering past repertoires and creating new music for new times? Should the composer’s intentions (whatever they might be) be preserved in aspic, or are we (either inevitably or by choice) constantly reinventing old music in response to our own present? These are among the fascinating questions thrown up by a dazzling new disc from maverick violin virtuoso Patricia Kopatchinskaja and the period-instrument band Il Giardino Armonico under the direction of Giovanni Antonini. Neatly summed up by the title ‘What’s next Vivaldi?’, it places concertos by the Red Priest of Venice in dialogue with works by five younger Italian contemporary composers, and is a feast for the ear as well as providing plenty of food for thought.
Though performed in a ‘historically informed’ style, it’s unlike any Vivaldi disc you may have heard before, and not just because of the innovative, probing couplings. For a start, it opens with surely the most breathtaking account on disc of the E flat major Violin Concerto op.8 no.5 ‘La tempesta di mare’ (one of two Vivaldi concertos with this title: the other, RV 433 in F major, is for flute). In the Presto first movement, Koptachinskaja skates brilliantly over the strings, like a water skier braving choppy waves, while in the bars leading up to the Adagio fermata just before the final tutti the music appears to break down, disintegrating to the sound of creaking planks, clamorous voices, and even a wind machine and thunder board. And that’s just the opening track! Things settle down for the following Largo, exquisitely poised but still with an interrogative element, while the closing Presto is (in the context of that earlier ‘shipwreck’) reassuringly buoyant.
Before the first of the new works, Aureliano Cattaneo’s Estroso, comes a thrilling vocal extemporisation (subsequently entitled Lazzo parlante: ‘speaking routine’) by the whole ensemble, captured on the sly by the sound engineer during a group rhythmic exercise, vowels and consonants flying skittishly past the listener. This dovetails neatly into Estroso itself, a work with an eccentric, capricious mood that exploits the sonorities and possibilities of early instruments while sounding thoroughly modern, with Kopatchinskaja’s solo violin and Antonini’s own recorder to the fore as the music gradually subsides.
Vivaldi’s compact G minor Concerto for strings, RV 157, enjoys a bracing performance encompassing bold contrasts as well as comforting harmonic sequences, before segueing into Luca Francesconi’s virtuosic Spiccato il volo for solo violin (as if the instrument were determined to retake the limelight), leading effectively into the wonderful world of the late C major Violin Concerto, RV 191, where the inclusion of soft-toned theorbo among the continuo instruments is particularly telling.
Simone Movio’s two-minute Incanto XIX is an attempt to capture in microcosm the forms and structures of a Baroque concerto. Scored for recorder, solo violin and strings, it occupies a surprisingly wide acoustic spectrum (from ominously deep bass lines to high-pitched recorder) within its brief span. Kopatchinskaja then shares the solo stand with three colleagues from Il Giardino Armonico in the four-movement E minor Concerto for four violins, op.3 no.4, with its delightfully swinging closing Andante.
Marco Stroppa’s Dilanio avvinto (‘tied up, I tear to pieces), its title an anagrammatic tribute to Vivaldi, starts as a contest between sopranino recorder and solo violin, with another violin as onlooker, eventually settling into dialogue, while Giovanni Sollima’s Moghul draws on the oriental strands from the history of his native Sicily, with evocatively inflected harmonic support for the solo violin. This forms a prelude to the final Vivaldi work, the D major Violin Concerto ‘Il Grosso Mogul’, resplendently performed by Kopatchinskaja with matching sonorities from the band, and Vivaldi’s own splendidly demanding cadenzas given distinctly up-to-date twists; the central Grave instrumental recitative has a palpable Balkan flavour to it, right down to some daring continuo harmonisations and held notes.
Bartók puts in a surprising appearance in the form of Szól a Duda (Bagpipes) from his 44 Duos for two violins, here rendered recorder and violin in a collegial interplay between the album’s two main soloists that feels entirely apt. The intimacy as well as the grandeur is captured magnificently by the Alpha team in the acoustics of the Stadttheater Greif in Wels, Austria. No-one familiar with the work of these unfailingly imaginative and challenging musicians will be disappointed with this absorbing disc, and for the light it shines on Vivaldi and our contemporary responses to his music it counts as essential listening.
Though performed in a ‘historically informed’ style, it’s unlike any Vivaldi disc you may have heard before, and not just because of the innovative, probing couplings. For a start, it opens with surely the most breathtaking account on disc of the E flat major Violin Concerto op.8 no.5 ‘La tempesta di mare’ (one of two Vivaldi concertos with this title: the other, RV 433 in F major, is for flute). In the Presto first movement, Koptachinskaja skates brilliantly over the strings, like a water skier braving choppy waves, while in the bars leading up to the Adagio fermata just before the final tutti the music appears to break down, disintegrating to the sound of creaking planks, clamorous voices, and even a wind machine and thunder board. And that’s just the opening track! Things settle down for the following Largo, exquisitely poised but still with an interrogative element, while the closing Presto is (in the context of that earlier ‘shipwreck’) reassuringly buoyant.
Before the first of the new works, Aureliano Cattaneo’s Estroso, comes a thrilling vocal extemporisation (subsequently entitled Lazzo parlante: ‘speaking routine’) by the whole ensemble, captured on the sly by the sound engineer during a group rhythmic exercise, vowels and consonants flying skittishly past the listener. This dovetails neatly into Estroso itself, a work with an eccentric, capricious mood that exploits the sonorities and possibilities of early instruments while sounding thoroughly modern, with Kopatchinskaja’s solo violin and Antonini’s own recorder to the fore as the music gradually subsides.
Vivaldi’s compact G minor Concerto for strings, RV 157, enjoys a bracing performance encompassing bold contrasts as well as comforting harmonic sequences, before segueing into Luca Francesconi’s virtuosic Spiccato il volo for solo violin (as if the instrument were determined to retake the limelight), leading effectively into the wonderful world of the late C major Violin Concerto, RV 191, where the inclusion of soft-toned theorbo among the continuo instruments is particularly telling.
Simone Movio’s two-minute Incanto XIX is an attempt to capture in microcosm the forms and structures of a Baroque concerto. Scored for recorder, solo violin and strings, it occupies a surprisingly wide acoustic spectrum (from ominously deep bass lines to high-pitched recorder) within its brief span. Kopatchinskaja then shares the solo stand with three colleagues from Il Giardino Armonico in the four-movement E minor Concerto for four violins, op.3 no.4, with its delightfully swinging closing Andante.
Marco Stroppa’s Dilanio avvinto (‘tied up, I tear to pieces), its title an anagrammatic tribute to Vivaldi, starts as a contest between sopranino recorder and solo violin, with another violin as onlooker, eventually settling into dialogue, while Giovanni Sollima’s Moghul draws on the oriental strands from the history of his native Sicily, with evocatively inflected harmonic support for the solo violin. This forms a prelude to the final Vivaldi work, the D major Violin Concerto ‘Il Grosso Mogul’, resplendently performed by Kopatchinskaja with matching sonorities from the band, and Vivaldi’s own splendidly demanding cadenzas given distinctly up-to-date twists; the central Grave instrumental recitative has a palpable Balkan flavour to it, right down to some daring continuo harmonisations and held notes.
Bartók puts in a surprising appearance in the form of Szól a Duda (Bagpipes) from his 44 Duos for two violins, here rendered recorder and violin in a collegial interplay between the album’s two main soloists that feels entirely apt. The intimacy as well as the grandeur is captured magnificently by the Alpha team in the acoustics of the Stadttheater Greif in Wels, Austria. No-one familiar with the work of these unfailingly imaginative and challenging musicians will be disappointed with this absorbing disc, and for the light it shines on Vivaldi and our contemporary responses to his music it counts as essential listening.
Reviews
the playing from Kopatchinskaja, including the finest gradations of vibrato control and agogic phrasing, is exceptional and the idea of a first among equals unavoidable. This album is cohesive, illuminating at every turn and filled with complex joy for all its eccentricities and non sequiturs.The Strad
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