Vivaldi L'estro armonico, Op. 3
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Label: Archiv Produktion
Magazine Review Date: 1/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 423 094-1AH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti grossi, '(L')estro armonico' |
Antonio Vivaldi, Composer
(The) English Concert Antonio Vivaldi, Composer Trevor Pinnock, Conductor |
Composer or Director: Antonio Vivaldi
Label: Archiv Produktion
Magazine Review Date: 1/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 423 094-4AH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti grossi, '(L')estro armonico' |
Antonio Vivaldi, Composer
(The) English Concert Antonio Vivaldi, Composer Trevor Pinnock, Conductor |
Composer or Director: Antonio Vivaldi
Label: Archiv Produktion
Magazine Review Date: 1/1988
Media Format: CD or Download
Media Runtime: 100
Mastering:
DDD
Catalogue Number: 423 094-2AH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti grossi, '(L')estro armonico' |
Antonio Vivaldi, Composer
(The) English Concert Antonio Vivaldi, Composer Trevor Pinnock, Conductor |
Author: Nicholas Anderson
Vivaldi's L'estro armonico, the first and in many ways the most diverse of his printed sets of concertos, was dedicated to the Grand Prince Ferdinando of Tuscany and published in Amsterdam in 1711. Although Roman rather than Venetian in layout, Michael Talbot, in a comprehensive essay, points out that Giuseppe Valentini more than Corelli may have served as Vivaldi's model. Venetian characteristics, nevertheless, are present too, as can be seen both in the provision of two viola parts, sometimes admittedly doubling but in others, notably in Concerto No. 10 in B minor, properly divided, and in the frequent use of cello obbligato. The set had a marked influence both upon Italian composers and, more especially, upon composers abroad; Bach, we may recall, transcribed no less than half of the concertos—two for solo organ, three for solo harpsichord and one for four harpsichords with string orchestra. In a sense, Bach's transcriptions—in fact they are rather more than that—reflect the sheer variety on display in L'estro armonico, which contains concertos for one, two and four violins arranged in four symmetrical groups in the reverse order with cello obbligato in five of them.
Trevor Pinnock, like Christopher Hogwood (L'Oiseausix years ago, has opted for performances with one instrument to a part. Then, such an approach was something of a novelty though nowadays I suspect that it would be the 'orchestral' rather than the 'chamber' performances that would be questioned first. Vivaldi sensibly has left the matter open to debate and both solutions seem to me effective, though of course in different ways. I enjoyed Hogwood's performances with the Academy of Ancient Music when they were first released in 1981, four violinists, of whom Simon Standage and Elizabeth Wilcock are common to both sets, take their turn separately and collectively in the role of soloist providing the listener, as I said in my review, with an admirable opportunity of drawing up his or her own league-table according to personal preference. On the new set the form is much the same, except that Simon Standage is the first violin in all but one of the concertos (No. 8 in A minor for two solo violins) and thus, by inference, is the soloist in each of the concertos for one violin. The remaining violinists on the new recording are Micaela Comberti and Miles Golding with Jaap ter Linden (cello). The viola players, Trevor Jones and Jan Schlapp play in both sets.
From almost any standpoint The English Concert's account of these concertos is excellent. In respect of ensemble it has the edge on the rival AAM and the soloists, separately and together, provide a more consistently impressive front. Entries are crisp and tidy, passagework lively and as always Trevor Pinnock imbues the whole with a supple, rhythmic sense; nevertheless, the playing is not entirely free from passages of sour intonation, especially noticeable in the Eighth and Tenth Concertos of the set. The strands of the texture are evenly balanced and the recorded acoustic is ideally resonant with effective clarity in the cello and double-bass. Where for me the AAM version scores over this one is in the solution Hogwood offers to continuo realization. Pinnock settles for harpsichord throughout and there is no reason at all why he should not do so. Hogwood, however, prefers to shift between harpsichord and chamber organ, often introducing a plucked string texture with a theorbo. I find this often suits the music rather well and when demonstrated by players with good taste and an assured feeling for style, adds weight in favour of the practice. Hogwood's account of the lovely Eighth Concerto (A minor) is just one instance where my ears find an organ particularly apposite.
Apart from the continuo issue it is, as I say, the new recording from Trevor Pinnock and The English Concert which more consistently comes out on top. But I should add that my affection for the older one is in no way diminished by the appearance of its impressive rival. There is some beautiful ornamentation from some of the soloists in the Hogwood version, notably perhaps from Monica Huggett, who plays first violin in three of the concertos. It is a difficult choice but neither version will cause disappointment, unless you dislike single strings, in which case I Musici on Philips will suit you better. A warm welcome, then, to The English Concert album.'
Trevor Pinnock, like Christopher Hogwood (L'Oiseausix years ago, has opted for performances with one instrument to a part. Then, such an approach was something of a novelty though nowadays I suspect that it would be the 'orchestral' rather than the 'chamber' performances that would be questioned first. Vivaldi sensibly has left the matter open to debate and both solutions seem to me effective, though of course in different ways. I enjoyed Hogwood's performances with the Academy of Ancient Music when they were first released in 1981, four violinists, of whom Simon Standage and Elizabeth Wilcock are common to both sets, take their turn separately and collectively in the role of soloist providing the listener, as I said in my review, with an admirable opportunity of drawing up his or her own league-table according to personal preference. On the new set the form is much the same, except that Simon Standage is the first violin in all but one of the concertos (No. 8 in A minor for two solo violins) and thus, by inference, is the soloist in each of the concertos for one violin. The remaining violinists on the new recording are Micaela Comberti and Miles Golding with Jaap ter Linden (cello). The viola players, Trevor Jones and Jan Schlapp play in both sets.
From almost any standpoint The English Concert's account of these concertos is excellent. In respect of ensemble it has the edge on the rival AAM and the soloists, separately and together, provide a more consistently impressive front. Entries are crisp and tidy, passagework lively and as always Trevor Pinnock imbues the whole with a supple, rhythmic sense; nevertheless, the playing is not entirely free from passages of sour intonation, especially noticeable in the Eighth and Tenth Concertos of the set. The strands of the texture are evenly balanced and the recorded acoustic is ideally resonant with effective clarity in the cello and double-bass. Where for me the AAM version scores over this one is in the solution Hogwood offers to continuo realization. Pinnock settles for harpsichord throughout and there is no reason at all why he should not do so. Hogwood, however, prefers to shift between harpsichord and chamber organ, often introducing a plucked string texture with a theorbo. I find this often suits the music rather well and when demonstrated by players with good taste and an assured feeling for style, adds weight in favour of the practice. Hogwood's account of the lovely Eighth Concerto (A minor) is just one instance where my ears find an organ particularly apposite.
Apart from the continuo issue it is, as I say, the new recording from Trevor Pinnock and The English Concert which more consistently comes out on top. But I should add that my affection for the older one is in no way diminished by the appearance of its impressive rival. There is some beautiful ornamentation from some of the soloists in the Hogwood version, notably perhaps from Monica Huggett, who plays first violin in three of the concertos. It is a difficult choice but neither version will cause disappointment, unless you dislike single strings, in which case I Musici on Philips will suit you better. A warm welcome, then, to The English Concert album.'
Vivaldi L'estro armonico, Op. 3
Vivaldi L'estro armonico, Op. 3
Vivaldi L'estro armonico, Op. 3
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.