Late Vivaldi Concertos: RV386 / RV235 / RV296 / RV258 / RV389 / RV251 - Giuliano Carmignola / Venice Baroque Orchestra / Andrea Marcon
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CD Details
Edition: Music CDCD Release Date: 2002-10-01
Music Label: Sony
Soundtracks:
- I. Allegro Ma Poco
- II. Larghetto
- III. Allegro
- I. Allegro Ma Poco
- II. Adagio
- III. Allegro
- I. Allegro Ma Poco
- II. Largo
- III. Allegro
- I. Largo - Andante Molto
- II. Largo
- III. Allegro
- I. Allegro Poco
- II. largo
- III. Allegro
- I. Allegro Ma Poco
- II. Largo
- III. Allegro
Music reviews of Late Vivaldi Concertos: RV386 / RV235 / RV296 / RV258 / RV389 / RV251 - Giuliano Carmignola / Venice Baroque Orchestra / Andrea Marcon
Music Review: Challenging what we know about Vivaldi's concertos
Rating: 5 Stars
First, I should mention that I typically purchase a CD for the music on that CD, and not for the artist playing the music. I am usually a little put off by artist-centered productions, and that is what we have here. There are no fewer than three full-sized photographs of Giuliano Carmignola included within the program notes, and you can double that number if you include the advertisements for previously released discs included on the last page of the booklet. However, I won't let that bias me in writing this review.
The Music:
It is important to note that these concertos were composed by Vivaldi (1678-1741) late in his career. Do not try to associate any type of chronology to the RV numbering of Vivaldi's works, as this numbering represents a simple cataloguing. You might be wondering, what makes a "late" Vivaldi concerto different from any other Vivaldi concerto. Well, the later concertos strike me as bolder and less formulaic, and are filled with rhythmic and harmonic surprises not found in the earlier concertos. For instance, the solo part is more than just busy sixteenth note writing (of course there is some of that, though), but rather it is a combination of arching lyrical lines and virtuosic passages of invigorating, swift figurations, with plenty of accents and the occasional double stop to add flavor. The unusual harmonic progressions present in these concertos are also rather striking. Some of these harmonic intricacies are subtle (Track 13), while others boldly proclaim themselves (ex: Track 1). Additionally, the "late" Vivaldi concertos appear to be longer than his published concertos (the ones with the opus numbers). Surprisingly, a couple of the movements exceed five minutes.
The concertos performed here were well chosen to offer contrast. Compare the contemplative conclusion to RV 389 (Track 15) against the exuberant conclusion to RV 251 (Track 18), as an example. Three of the six concertos are in a minor key.
As these concertos are a bit more complex than the average baroque concerto, my initial reaction was that the ritornellos were not as memorable as would be expected for Vivaldi. But after a couple of listenings, I was following along without difficulty. To the best of my knowledge, the six concertos presented here are not available elsewhere, so there is little risk of acquiring duplicate repertoire.
The Performance:
Of course the violin playing by Carmignola is excellent and quite personal (one should hope so, as his name is about three times as large as Vivaldi's on the CD cover!). As the program notes explain, a "rediscovery" has taken place over the past several years, where highly trained baroque instrumentalists (i.e. Carmignola) have perfected the techniques used by instrumentalists of Vivaldi's time that produced sharp attacks and varied vibration. Accordingly, in contrast to earlier performances of Vivaldi's concertos, the soloist and ensemble vary their attacks to provide contrast between the different portions of the movements. As an example, listen to the bold bow strokes and crescendos of the lower strings in Track 3. Additionally, the ensemble and soloist generously sprinkle in rallentandos and subito dynamic changes throughout the concertos. Of course this boldly interpretative style may not be to everyone's taste; however I think it works well here and makes for an interesting listening experience.
Also notable is the inclusion of several basso continuo instruments, including an additional harpsichord, an organ and a lute. I find the use of the lute, in place of the harpsichord, in the softer sections provides a compelling contrast in texture. In addition to providing contrast, the additional instruments are often used together in the ritornellos to add more meat to the ensemble (ex: Track 4).
The Conclusion:
This is not a conventional performance of run-of-the-mill Vivaldi concertos. These highly enjoyable and creative concertos are filled with twists and turns that make it hard to believe this is the same Vivaldi we all know and love. The playing by the Carmignola and the Venice Baroque Orchestra is fantastic.
Highly recommended.
71:41
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