Vivaldi: Recorder Concerto in C minor, RV441

Aside from his numerous flute concertos (including the six of the famous Op. 10), Vivaldi's catalogue includes three unpublished concerti for ottavino (piccolo) without opus number (the autograph manuscripts are to be found in the Turin Library), which are practically unique in Italian Baroque music. For this unusual soloist, Vivaldi 'imposes runs of great volubility and perilous breaks' (Marc Pincherle) in his allegros whilst also revealing, in the slow movements, 'the instrument’s unsuspected expressive possibilities'.

Even though not initially written for piccolo, the other three concertos that round out this programme are particularly well suited to the instrument. The one in A minor (P. 77) was originally a concerto da camera for recorder, two violins - in a tight dialogue with intentionally parallel parts - and bass. The Concerto in C minor (P. 440) had also been written for recorder whereas the Concerto for two flutes in C major (P. 76) called for two transverse flutes. All three feature two particularly nimble and voluble - even spectacular - fast movements flanking a mysterious, questioning or serene nocturnal cantilena. But, in addition, each one takes on a clearly pronounced character: playful and mischievous in the case of the Concerto in A minor, dramatic for the one in C minor, and festive and cheerful in the Concerto for two flutes.

Piers Adams is widely regarded as one of the greatest recorder players of our time. He has been heralded as ‘a dazzling virtuoso star’ (BBC Music Magazine), ‘staggering’ (Gramophone), ‘intensely musical and astonishingly colorful’ (Pittsburg Tribune Review), and ‘the reigning recorder virtuoso in the world today’ (Washington Post).

Piers has worked tirelessly to develop the recorder’s repertoire and reputation as a serious solo instrument, in particular through his researches into forgotten corners of the instrument’s repertoire, and his numerous arrangements and transcriptions from a wide range of genres.

In 1997 Piers founded his now world-renowned baroque quartet Red Priest, with whom he has toured the globe several times, performing over 1000 concerts on four continents in some of the most prestigious music festivals. The group has appeared frequently on TV and radio – including hour long televised features on LWT’s The South Bank Show (UK) – and recorded several acclaimed discs on Red Priest Recordings.

The Vivaldi CD is a 1988 recording previously released on Collins Classics and Cala United. The Handel CD is a 1989 recording previously released on Factory Records.

Francis Colpron has been recognised as one of the most talented recorder players in Canada and around the world. His musical qualities and his capacity to innovate both in the artistic and interpretive spheres have been acclaimed by the public and critics alike. This CD includes a wide variety of sinfonias and concertos for recorder, oboe and violin by some of the best known baroque composers.

Stravinsky famously quipped that Vivaldi didn’t write 400 concertos, rather he wrote one concerto 400 times. Rather unfair, though witty. For many people though, Vivaldi is the composer of The Four Seasons (the first four of the twelve concertos Op.8), and maybe the famous Gloria. He is a composer who repays closer attention. There are some superb concertos in his large output, and some of them were sufficiently striking enough to attract the attention of J.S. Bach and Johann Quantz.

His concertos are remarkable not only for the wealth of invention and the outstanding quality of the music, but also for the amazing range of instruments he wrote for. This CD is devoted to concertos for sopranino and alto recorders. Two of his greatest concertos ‘Tempesta di mare’ (Storm at Sea) and ‘La notte’ (Night) feature on the programme.

The title of this CD Bellezza Crudel means ‘beautiful cruelty’ and the music reflects the Venetian tradition of masquerade and intrigue. This is undoubtedly Vivaldi’s world, one of heartfelt, musical intensity ably realised by Tone Wik on this delightful collection of four Cantatas, interspersed with two Concertos.

The recorder only features in a handful of Vivaldi’s concertos. Well known for being an exceptional violinist, Vivaldi’s innovative style is apparent in his compositions for other instruments too. He used the same technique as when he composed for the violin, using a musical language marked by gigantic tonal ranges whether or not they were models for this in their respective repertoire. The result is a concert repertoire that is madly virtuosic and music of the greatest variety. Some could even say his recorder concertos represent the greatest challenge in the baroque repertoire.

Michael Schneider, regarded as one of today’s best German recorder players, presents his own interpretation of this fascinating group of works.