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Vivaldi Con Moto
Despite the popularity of works such as The Four Seasons and La Stravaganza, many of Vivaldi’s 250 concertos for violin remain largely unknown.
The new recordings of the concertos RV 187 and 281 are based on Vivaldi’s original manuscript scores and capture the thrilling spontaneity of his compositional style. The concerto RV283 also includes a previously unpublished cadenza from the notebook of Vivaldi’s protégé Anna Maria.
Very much a man of the 21st Century, Giuliano Carmignola combines his passion for the baroque with his love of motorcycling, which he calls, “Vivaldi con moto - motion and emotion from a MOTOcyclist-musician.”
Internationally known as a harpsichord player and conductor of baroque opera, Ottavio Dantone has directed his Accademia Bizantina on many acclaimed recordings, including three albums with star countertenor Andreas Scholl.
“the sound is indeed hard-driven and exciting, full of those pulsating unisons and relentless sequences with which Vivaldi powers his music. But there is also incredible delicacy and refinement here, and Carmignola's wiry sound is a world away from the tubby, rich Vivaldi performances of yore...Superb support from the Accademia Bizantina.” The Observer, 31st March 2013
“Carmignola is certainly master of his [instrument], not simply technically but expressively too. His bow almost talks as it shapes a motif, turns an ornament, sings a line...ensemble is first-rate.” BBC Music Magazine, May 2013 ****
“Carmignola is a wonderfully accomplished player: with minimal use of vibrato, he phrases the melodic passages...in an irresistably expressive manner and performs the more challenging passagework with breathtaking precision and purity...The orchestral playing is certainly vivid...a firm recommendation.” Gramophone Magazine, June 2013
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Vivaldi - Violin Concertos Volume 2
This is the second volume of the “Na?ve” Vivaldi edition to be dedicated to the violin concertos. It features the outstanding young German soloist Anton Steck and the renowned specialist baroque ensemble Modo Antiquo performing works collectively known as “Di Sfida”. They are considered to be some of the most challenging pieces that the composer ever wrote.
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The Rise of the North Italian Violin Concerto 1690–1740
Volume Two: Antonio Vivaldi – Virtuoso Impresario
Concerto for violin, strings & continuo in Bb, RV370
Arias for soprano, strings & continuo from La costanza trionfante degl’amori e de gl’odii, RV706
Mhairi Lawson (soprano)
Concerto for violin, 2 violoncellos, strings & continuo in C, RV561
Concerto for strings in E minor, RV 134
Concerto senza cantin for violin, strings & continuo in D minor, RV243
Arias for soprano, strings & continuo from La fida ninfa, RV714
Mhairi Lawson (soprano)
Concerto for violin, strings & continuo in Eb, RV254
Antonio Vivaldi was famously both a virtuoso performer and an impresario. The same can be said of Adrian Chandler, whose passionate advocacy has associated him with the Red Priest’s music like no other. Following last autumn’s release of The Rise of the North Italian Violin Concerto 1690–1740, Volume One: The Dawn of the Virtuoso (AV 2106), which earned Chandler and his ensemble La Serenissima an Editor’s Choice from Gramophone magazine, Avie offers the second in a three-volume series exploring the development of the violin and growing demand for virtuoso repertoire during the Italian baroque era, of which Vivaldi was undisputedly the zenith. Mirroring the highly successful format of Volume One, Chandler intersperses dazzling concerti with contemporaneous vocal works, illuminating these genres’ effects on each other in Vivaldi’s oeuvre. If Chandler’s thorough research is a multi-faceted crystal, his performances are the rainbow-hued shaft of light brightly shining through.
Recorded 4 – 7 March 2007 at The Warehouse, Studio 1, London
“Adrian Chandler… is given sensitive support by his string and continuo players among which the audible presence of a theorbo is welcome. Soprano Mhairi Lawson highlights the affective contrasts of the arias with tonal warmth and requisite virtuosity. In summary, an excellent disc.” BBC Music Magazine, August 2007 *****
“'Antonio Vivaldi: Virtuoso Impresario' examines links between Vivaldi's concertos and operas.
Thus, the Concerto RV370 has origins partly in the opera Ottone in villa, RV134 was probably once the sinfonia to an oratorio, and RV254 shows signs of having started out life as an entr'acte. It should be said that the links are sometimes tenuous, but who could complain when the snippets of minutely detailed information which Adrian Chandler clearly commands encourage mixed programming so refreshingly different from the Vivaldian norm? It may not always bring us the Red Priest at his most inspired but it certainly shows a few sides to him that we do not always see – enough to confound daft comments about his lack of variety. For this is music brimming with ideas, from the unusual accompanimental texture of the slow movement of RV561, to the E-string-less experiment of RV243 (and the strange, off-beam harmonies of its slow movement), to RV134's excellent fugue.
All are played with La Serenissima's customary bright energy and enthusiasm, to which qualities are here added considerable subtlety of detail: listen to the way Chandler picks his way intelligently through the changing textural landscape of the first movement of RV243. Indeed, his playing throughout shows a smooth but vital tone, a fundamental likeability of sound and manner which is matched by soprano Mhairi Lawson in her five contrasted arias, all relative rarities dispatched with no-nonsense skill and aplomb. Here is further proof from this young British group that the Italian orchestras need not think to have Vivaldi to themselves just yet.” Gramophone Classical Music Guide, 2010
“…this is music brimming with ideas… All are played with La Serenissima's customary bright energy and enthusiasm, to which qualities are here added considerable subtlety of detail: listen to the way Chandler picks his way intelligently through the changing textural landscape of the first movement of RV243. Indeed, his playing throughout shows a smooth but vital tone, a fundamental likeability of sound and manner which is matched by soprano Mhairi Lawson in her five contrasted arias...” Gramophone Magazine, October 2007
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