This six-CD box set brings together four major concerto sets composed including the most famous Il Cimento dell'Armonia e l'Invenzione awarded pride of place.
The eminently reliable Academy of Ancient Music play their period instruments with consummate zest under their charismatic conductor Christopher Hogwood and these sets date back to the early digital cum late analogue days when the fabled 'L'Oiseau-Lyre' label still produced those lavishly packaged boxes with their distinctive white covers and the wonderful paintings.
If listeners had to commit to a single version of Vivaldi's Four Seasons for the rest of their lives, this 1984 BIS recording would be thoroughly satisfying choice. Superbly played, brilliantly recorded period instrument performances of this perennial masterpiece are all but a dime a dozen, and the differences between Hogwood's and Pinnock's and Harnoncourt's readings don't begin to make up for the fatal boredom of their performances. This version with Nils-Erik Sparf and the Drottningholm Court Baroque Ensemble would be an ideal choice because theirs is the freshest performance of the piece. Beyond their excellent technique and impeccable sense of style, Sparf and the Swedish musicians bring joy and enthusiasm to the music, and sound like they are in turn receiving happiness and energy from the music. There's real pleasure here, and real affection, as if the concertos were newly composed and these were their world premieres. Filled out with witty accounts of Vivaldi's F major Concerto for Bassoon and his G minor Concerto for Flute and Bassoon, this disc is a delight.
This collection represents the full range of Vivaldi recordings Christopher made with the AAM, and includes L'Estro Armonico Op.3, La Stravaganza Op.4, and the violin concertos Opp. 6, 8, 9, 11, and 12; solo concertos for flute (op. 10), oboe, bassoon, and cello; and various concerti grossi. Also featured are the complete cello sonatas, along with the cantatas "Amor, hai vinto" and "Nulla in mundo pax sincera", and sacred vocal works Stabat Mater, Nisi Dominus and the enduringly popular Gloria.
Disque passé plutôt inaperçu et qui régalera les vivaldiens. Comme, d'ailleurs, tout ce que font les Arte dell'Arco (et leurs deux solistes Guglielmo).On y retrouve la veine "parodique" du maître, ce qui veut dire qu'il n'hésite pas à recycler parfois ce qu'il a déjà utilisé dans une autre oeuvre (ici, on dira sur un mouvement, tiens! les 4 saisons). Son grand admirateur, un certain Jean-Sébastien Bach (non, ce n'est pas un musicien techno), retiendra la leçon (tel thème de cantate repris dans la Messe en si, par exemple)…
She has performed with musicians such as Heinz Holliger, Pinchas Zukerman, James Galway, Salvatore Accardo, Maurice Andrè, Keith Jarrett, Christopher Hogwood and Claudio Abbado, and appeared as soloist with many of the worlds major Chamber Orchestras and Symphony Orchestras.
As in the successful volumes 1-3 this is a very exciting recording, featuring the bassoon as you never heard before! The 54th release in the Vivaldi Edition features a selection of the finest works for bassoon ever composed, regardless of the instrument, this is a complete view of Vivaldi’s universe, performed by a true genius of baroque music. With each CD Azzolini proves himself to be an artist of endless immagination and virtuosity. With each new recording he surpasses the one before.
This very attractive release from Channel Classics features the terrific British period instrument ensemble Florilegium in performances of three Vivaldi concertos and two sacred vocal works. The group plays without a conductor and the players' shapely unanimity of phrasing and nuanced expressiveness give the performances the character of chamber music. It sidesteps the metric squareness that can plague performances of Vivaldi and let the music breathe and surge organically. The strings have the slight tartness of Baroque instruments and the overall sound of the orchestra has an appealing burnished sheen. This is relatively obscure repertoire and includes a flute concerto that was only discovered in 2010 and is recorded here for the first time, played beautifully by Ashley Solomon, the artistic director of Florilegium.
Director and violinist Amandine Beyer acknowledges in her booklet notes for this disc that the world may not seem to need another recording of Vivaldi's The Four Seasons, but then she tops the bar she has set up by delivering an entirely distinctive reading of the work. Her version, with the Italian historical-instrument group Gli Incogniti (who are not quite as unknown as all that), is as strikingly revisionist as the various turbo-powered, operatic Vivaldi recordings that began coming out of Italy in the 1990s, but it is different in flavor. In her own words, Beyer seeks "lightweight forces and freedom of phrasing." The group is small, with microphones put down right in the middle, and you hear lots of internal lines and interplay rather than contrast between orchestra and soloist.