Daniel Hope’s second album for DG finds him reunited with the esteemed Chamber Orchestra of Europe for their third partnership in the recording studio. Hope made his DG debut with Mendelssohn; he now turns his attention to Vivaldi with a selection of the composer’s greatest violin concertos. When presented by passionate, energetic performers this music is guaranteed to provide an uplifting and entertaining listening experience.
Hope and his band play on modern instruments, but in period style, a method they previously perfected in their acclaimed recording of Bach concertos (Warner). This recording attracted a remarkable amount of critical acclaim: “Modern-instrument Bach may not be fashionable, but these alert, fresh accounts of much-recorded concertos have all the zing and brio we expect from period ensembles.” (The Sunday Times)
Replace Bach with Vivaldi and the above quote anticipates what will be next. Vivacity and humour combine with Vivaldi’s timeless appeal for a best-selling formula.
Antonio Vivaldi: Violin Concerto in D, R.234 "L'inquietudine"
Antonio Vivaldi: Concerto in E minor for violin, strings & continuo, RV273
1. Allegro non molto
Antonio Vivaldi: Concerto for Violin and Strings in E flat, Op.8/5 , RV 253 "La tempesta di mare"
1. (Allegro e) presto
Antonio Vivaldi: Concerto grosso in D minor , Op.3/11 , RV 565
2. Adagio spiccato - Allegro
3. Largo e spiccato
Antonio Vivaldi: Trio Sonata in D minor for 2 Violins and Continuo, Op.1/12 , RV 63 "La Follia"
Trio Sonata in D minor for 2 Violins and Continuo, Op.1/12 , RV 63 "La Follia"
Antonio Vivaldi, Anonymus: Andromeda liberata (Serenata Veneziana)
Aria 13: Sovvente il sole
Awards Issue 2008
“Hope and the Chamber Orchestra of Europe play… with the clarity and ensemble precision of a top-class Baroque orchestra… Hope's obviously relish for Vivaldi's stiller moments brings memorable results… guest soloist Anne Sofie von Otter catches the mood superbly.”
“In these concertos Daniel Hope reveals himself as an ardent Vivaldian. …with dynamic playing that pays more than lip-service to the example provided by historically informed performances.”
Click on any of the works listed above for alternative recordings.