Vivaldi: 12 Concertos, Op.4
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Label: Archiv Produktion
Magazine Review Date: 1/1991
Media Format: CD or Download
Media Runtime: 99
Mastering:
DDD
Catalogue Number: 429 753-2AH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti for Violin and Strings, '(La) strava |
Antonio Vivaldi, Composer
(The) English Concert Antonio Vivaldi, Composer Simon Standage, Violin Trevor Pinnock, Conductor |
Author: Nicholas Anderson
La stravaganza was Vivaldi's second published collection of concertos and it was issued in about 1714 as the composer's Op. 4. Here he takes a step further from his earlier publication, L'estro armonico, towards the solo concerto as opposed to the concerto grosso. Some of the music of La stravaganza was probably in circulation before the set was printed; some at least was evidently familiar to Bach who transcribed the opening movements of the Concerto No. 1 in B flat and the Concerto No. 6 in G minor as solo harpsichord pieces. They became the opening movements of the Concerto in G major (BWV980) and the Concerto in G minor (BWV975), respectively.
Just over four years ago Monica Huggett and the Academy of Ancient Music recorded the same set for L'Oiseau-Lyre. These were lyrical performances full of warmth and insight to the music, above all from Huggett, herself, whose readings of the slow movements of the A minor Concerto (No. 4) and the G major Concerto (No. 12) were outstandingly beautiful. The new set from Simon Standage and The English Concert capitalizes on the weaknesses of the other, yet does not always match its strengths. Where I generally prefer The English Concert is in outer movements; here Pinnock injects a characteristic vitality, amounting even, at times, to passionate fervour. Such is the case in the opening Concerto in B flat whose outer movements are as energetic as anything else I know by Vivaldi. Pinnock understands this urgent side of the music and realizes it with fiery enthusiasm. The lyrical intervening Largo makes an affecting contrast and Standage does it justice with limpid, solo violin playing, poised and eloquent both in phrasing and ornamentation. Standage is comparably expressive in many of the remaining slow movements though sometimes I felt the ripieno element, when and where it occurs, a shade too assertive. Sometimes, too, I found a hint of astringency in Standage's tone as for example in the opening allegro of the A minor Concerto; but it is an occasional feature and, in the end, a small price to pay for so much else that is excellent.
Nevertheless, my preference is for Huggett and the Academy of Ancient Music in the exquisitely crafted slow movement of this concerto whose suspensions, chromaticisms and wistful melody evoke an air of fairy-tale enchantment. Likewise in the concluding concerto of the set, in G major, with its outstandingly beautiful slow movement I prefer Hogwood's more intimate performance to Pinnock's weightier interpretation. Perhaps the Largo is a fraction too fast but, nevertheless, the lighter tread and greater sensibility of the ensemble reveals the poetry of this inspired movement more convincingly than the new performance.
By now you will have gathered that a clear recommendation for one set over the other is impossible. Both soloists, in their different ways and different sounds, bring the music to life affectionately and convincingly; and both are supported by first-rate ensembles. Pinnock, on this occasion like Hogwood, has effectively varied the colours and textures of the continuo, ringing the changes between harpsichord and organ, theorbo and archlute. Lovers of this music will want both sets while explorers can search out either with confidence. The new issue is well recorded and interestingly documented.'
Just over four years ago Monica Huggett and the Academy of Ancient Music recorded the same set for L'Oiseau-Lyre. These were lyrical performances full of warmth and insight to the music, above all from Huggett, herself, whose readings of the slow movements of the A minor Concerto (No. 4) and the G major Concerto (No. 12) were outstandingly beautiful. The new set from Simon Standage and The English Concert capitalizes on the weaknesses of the other, yet does not always match its strengths. Where I generally prefer The English Concert is in outer movements; here Pinnock injects a characteristic vitality, amounting even, at times, to passionate fervour. Such is the case in the opening Concerto in B flat whose outer movements are as energetic as anything else I know by Vivaldi. Pinnock understands this urgent side of the music and realizes it with fiery enthusiasm. The lyrical intervening Largo makes an affecting contrast and Standage does it justice with limpid, solo violin playing, poised and eloquent both in phrasing and ornamentation. Standage is comparably expressive in many of the remaining slow movements though sometimes I felt the ripieno element, when and where it occurs, a shade too assertive. Sometimes, too, I found a hint of astringency in Standage's tone as for example in the opening allegro of the A minor Concerto; but it is an occasional feature and, in the end, a small price to pay for so much else that is excellent.
Nevertheless, my preference is for Huggett and the Academy of Ancient Music in the exquisitely crafted slow movement of this concerto whose suspensions, chromaticisms and wistful melody evoke an air of fairy-tale enchantment. Likewise in the concluding concerto of the set, in G major, with its outstandingly beautiful slow movement I prefer Hogwood's more intimate performance to Pinnock's weightier interpretation. Perhaps the Largo is a fraction too fast but, nevertheless, the lighter tread and greater sensibility of the ensemble reveals the poetry of this inspired movement more convincingly than the new performance.
By now you will have gathered that a clear recommendation for one set over the other is impossible. Both soloists, in their different ways and different sounds, bring the music to life affectionately and convincingly; and both are supported by first-rate ensembles. Pinnock, on this occasion like Hogwood, has effectively varied the colours and textures of the continuo, ringing the changes between harpsichord and organ, theorbo and archlute. Lovers of this music will want both sets while explorers can search out either with confidence. The new issue is well recorded and interestingly documented.'
Vivaldi: 12 Concertos, Op.4
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.