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Vivaldi: Concerti per Flauto e Flautino
Recorded 23rd - 26th September 2004, San Vigilio, Col San Martino, Italy
This milestone of the Arcana catalogue returns with new artwork, new catalogue number (previously A330) and a new cover featuring ‘Boy with Flute’ by the Venetian painter Domenico Maggiotto. All the recorder concertos on this CD were written expressly for flauto or flautino and show the imagination, delicacy, freshness, virtuosity and sometimes even melancholy, which Vivaldi put into his writing for this instrument. Oberlinger has intentionally chosen tuning at 440 Hz since, in Venice, in Vivaldi’s time, tuning was higher than in neighbouring musical centres such as Rome. With this high tuning, the sound of the gentle gut strings becomes clearer and more brilliant. Dorothee Oberlinger is an expressive virtuoso who is seen as one of the best recorder players in the world. She collaborates particularly intensively with the top Italian period ensemble Sonatori de la Gioiosa Marca, with whom she has given many concerts throughout Europe. Their joint CD of concertos by Antonio Vivaldi with violinist Giuliano Carmignola, has received numerous awards from the international musical press including Diapason d’or de l’année.
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Vivaldi: Gods, Emperors & Angels
Concertos for recorder, violin, bassoon & strings
The playing of Adrian Chandler and his crack period-instrument band La Serenissima emulates the title of their eighth release for Avie, mining the treasures of Vivaldi’s vast output.
Who are these Gods, Emperors and Angels in the title of the latest virtuoso vehicle for Adrian Chandler and his dazzling period-instrument band La Serenissima? Vivaldi was connected to many Highnesses on the European continent, foremost among them the widely cultured Holy Roman Emperor Charles IV to whom Vivaldi dedicated his set of concertos titled La Cetra, meaning “The Lyre,” hence likening the emperor to the lyre playing god Apollo. The theme continues with the oddly titled Concerto Conca or “Conch Concerto,” alluding to the use of the conch shell as a musical trumpet, heard in the work’s first movement, and as used by Triton, son of Neptune and Amphitrite, and by Neptune’s attendants. The Angels are undoubtedly Vivaldi’s virtuoso female students at the Ospedale della Pietà, one of which was described in a contemporary anonymous poem: “She plays the violin in such a way / that anyone hearing her is transported to Paradise / if indeed it is true that up there / the angels play like that.”
Chandler and his forces, delivering their eighth imaginative album for Avie, play like gods, emperors and angels indeed, further securing their exalted place in the realms of early music performance.
“The most notable pieces are those featuring woodwind as lead instrument...it's Pamela Thorby's lead role in the Concerto for Sopranino Recorder, Strings & Continuo that dazzles, a virtuoso performance.” The Independent, 4th June 2010 ***
“This is a Vivaldi recital of wonderful contrasts, played with fizzing energy, crisply articulated, vividly coloured and passionate.” Sunday Times, 6th June 2010
“Chandler yields nothing to his Italian rivals in terms of technique and flair...In matters of performance practice, [he] is willing to go back to the sources and try out seemingly strange things...these are must-have performances for all of Red Priests's musical parishioners.” International Record Review, July/August 2010
“Thorby shows off her supreme nimbleness and elfin charm; this is music that has sounded coldly mechanical in other hands, yet Thorby's personality and piper's box of subtle ornamental tricks give it a vocal vitality...With La Serenissima offering their usual bright but lightly cushioned sound, this is another disc of no-nonsense joy in the Vivaldian world.” Gramophone Magazine, September 2010
“Whelan with Pamela Thorby provide an evenly balanced partnership with plenty of tasteful ornaments.” BBC Music Magazine, September 2010 ****
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Vivaldi - Concerti e Sinfonie per archi
“…without a soloist, the spotlight is completely on the orchestra, which is lithe, colourful, virtuosic… the enjoyment emanating from the players is palpable, and why this brightly-recorded disc has waited three years to be issued is a complete mystery.” BBC Music Magazine, September 2006 *****
“This collection draws from Vivaldi's 'Concerti per archi', concertos for strings and continuo without the flamboyant writing for solo instruments found in the majority of the Red Priest's orchestral works. Across 68 minutes Vivaldi seems to have a seemingly inexhaustible arsenal of tricks, but it's never merely superficial. All the music on offer here is unmistakably Vivaldian: although there is common ground in many of these 'concerti per archi', they contain a dazzling kaleidoscope of moods and textures.
Andrea Marcon directs vivid, strongly etched performances that often reach fiery intensity.
Things get off to a sizzling start with the precocious beginning of RV111a, and the opening Allegro of RV157 is a perfect illustration of Marcon's fondness for wonderfully incisive yet flowing continuo. But there are also notable moments of exquisite beauty, such as a gorgeously played Largo from RV127. The Adagio in RV121 is an evocative hushed moment graced with lovely theorbo playing. It is easy to notice the athleticism of the Venice Baroque Orchestra's vigorous playing of fast movements, yet it is equally significant that the group perform Vivaldi's slower music with tenderness.” Gramophone Classical Music Guide, 2010
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