Vivaldi Concertos, Op. 4
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Label: Florilegium
Magazine Review Date: 3/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 417 502-1OH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti for Violin and Strings, '(La) strava |
Antonio Vivaldi, Composer
Academy of Ancient Music Antonio Vivaldi, Composer Christopher Hogwood, Harpsichord Monica Huggett, Violin |
Composer or Director: Antonio Vivaldi
Label: Florilegium
Magazine Review Date: 3/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 417 502-4OH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti for Violin and Strings, '(La) strava |
Antonio Vivaldi, Composer
Academy of Ancient Music Antonio Vivaldi, Composer Christopher Hogwood, Harpsichord Monica Huggett, Violin |
Composer or Director: Antonio Vivaldi
Label: Florilegium
Magazine Review Date: 3/1987
Media Format: CD or Download
Media Runtime: 100
Mastering:
DDD
Catalogue Number: 417 502-2OH2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti for Violin and Strings, '(La) strava |
Antonio Vivaldi, Composer
Academy of Ancient Music Antonio Vivaldi, Composer Christopher Hogwood, Harpsichord Monica Huggett, Violin |
Author: Nicholas Anderson
La stravaganza was Vivaldi's second published set of concertos. It appeared in about 1713, shortly after his successful L'estro armonico of 1711. The edition was published by Estienne Roger in Amsterdam and brought out in two books as the composer's Op. 4. The 12 concertos of La stravaganza are all scored for solo violin and strings. In general, greater emphasis is placed on 'solo' element than in the earlier set where 'concertino' writing plays a more extensive role. Bach transcribed for solo harpsichord movements from the First and Sxith Concertos though he would have seen this music in an earlier, somewhat different manuscript form. In the case of Concerto No. 1 in B flat only the first movement appears in Bach's G major solo keyboard version (BWV980); and where Concerto No. 6 in G minor is concerned Bach closely follows the opening movement, greatly modifies the second and follows an entirely different finale; the key, however, remains the same (BWV975). If the substance of the concertos themselves seem at first sight less varied than that of L'estro armonico the same certainly cannot be said of the solo violin writing which is richly endowed with passages of beguiling fantasy. Indeed, it seems to me that some of Vivaldi's utterances in this set exceed anything in his Op. 3 in respect of poesy and tenderness; an outstanding example of his lyrical gift occurs in the Largo of Concerto No. 12 in G major. Here a heart-rending melody is treated to a series of variations over an ostinato bass in a most inventive manner; the effect is magical and the piece must surely rank amongst Vivaldi's loveliest creations. The Grave e sempre piano of Concerto No. 4 in A minor, with its sighing suspensions, its ethereal solo violin line, and characteristic chromaticisms, is hardly less inspired, evoking an air almost of fairy-tale enchantment. There's a surprise at almost every leading note in this tender movement.
Fast movements are treated to a rich variety of patterns. Some of them, such as the opening Allegro of Concerto No. 2 in E minor, recall ideas in Vivaldi's earlier Op. 3 set; but others, such as the finale of the Twelfth Concerto, and the opening movements of Concerto No. 8 in D minor begin with a lively violin solo rather than the usual tuttiritornello, and are boldy distinctive. All but one of the concertos fall into Vivaldi's customary 'fast-slow-fast' movement pattern; the odd man out is the somewhat Corellian Concerto No. 7 in C major, which follows the sonata da chiesa pattern with an interesting Largo opening movement. The set as a whole is rich both in experimental gestures and musical fantasy, qualities that are emphasized in these captivating performances.
The soloist in each of the 12 concertos is Monica Huggett, for whose playing I am filled with admiration. Her warm tone, her well-nigh impeccable intonation, her sensitive shading of dynamics and her communicative articulation bring-us to the heart of this music in a seemingly effortless fashion. Her virtuosity enables her to be convincing in all shades of musical affect—fiery where necessary, as in the spirited outer movements of Concerto No. 1 in B flat, but also lyrically, even, on occasion, poignantly expressive, too. The small group of string players which, on this occasion, comprise the Academy of Ancient Music, set up a responsive partnership with the solo violin. Very occasionally, I'd have preferred lighter tuttis in slow movements—the beautiful Largo of the Twelfth Concerto, which I've already mentioned, struck me as being a shade too assertive; but that is not at all to say that the performance lacks either finesse or sensibility. Everyone concerned sounds inspired by the music and this makes for notably rewarding performances. Christopher Hogwood has realized his continuos imaginatively and, as in his recording of Vivaldi's Op. 8 (L'Oiseau-Lyre D279D2, 9/83; CD 417 515-2OH2, 3/87), plays harpsichord or organ according to what he considers to be the individual sound requirements of each concerto; and the presence of a theorbo, as I have remarked before, is invariably effective.
To sum up, a splendid achievement all round. Wonderful solo violin playing, lively orchestral support, sensitive direction and a fine recorded sound. Strongly recommended.'
Fast movements are treated to a rich variety of patterns. Some of them, such as the opening Allegro of Concerto No. 2 in E minor, recall ideas in Vivaldi's earlier Op. 3 set; but others, such as the finale of the Twelfth Concerto, and the opening movements of Concerto No. 8 in D minor begin with a lively violin solo rather than the usual tuttiritornello, and are boldy distinctive. All but one of the concertos fall into Vivaldi's customary 'fast-slow-fast' movement pattern; the odd man out is the somewhat Corellian Concerto No. 7 in C major, which follows the sonata da chiesa pattern with an interesting Largo opening movement. The set as a whole is rich both in experimental gestures and musical fantasy, qualities that are emphasized in these captivating performances.
The soloist in each of the 12 concertos is Monica Huggett, for whose playing I am filled with admiration. Her warm tone, her well-nigh impeccable intonation, her sensitive shading of dynamics and her communicative articulation bring-us to the heart of this music in a seemingly effortless fashion. Her virtuosity enables her to be convincing in all shades of musical affect—fiery where necessary, as in the spirited outer movements of Concerto No. 1 in B flat, but also lyrically, even, on occasion, poignantly expressive, too. The small group of string players which, on this occasion, comprise the Academy of Ancient Music, set up a responsive partnership with the solo violin. Very occasionally, I'd have preferred lighter tuttis in slow movements—the beautiful Largo of the Twelfth Concerto, which I've already mentioned, struck me as being a shade too assertive; but that is not at all to say that the performance lacks either finesse or sensibility. Everyone concerned sounds inspired by the music and this makes for notably rewarding performances. Christopher Hogwood has realized his continuos imaginatively and, as in his recording of Vivaldi's Op. 8 (L'Oiseau-Lyre D279D2, 9/83; CD 417 515-2OH2, 3/87), plays harpsichord or organ according to what he considers to be the individual sound requirements of each concerto; and the presence of a theorbo, as I have remarked before, is invariably effective.
To sum up, a splendid achievement all round. Wonderful solo violin playing, lively orchestral support, sensitive direction and a fine recorded sound. Strongly recommended.'
Vivaldi Concertos, Op. 4
Vivaldi Concertos, Op. 4
Vivaldi Concertos, Op. 4
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