The Rise of the North Italian Violin Concerto: 1690-1740, Vol. 1 - The Dawn of the Virtuoso

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Editorial Reviews

All Music Guide - James Manheim
The Vivaldian violin concerto seems such a classically simple thing with its chunky tutti sharply differentiated from spectacular solos. And Vivaldi wrote so fluently, wrote so many hundreds of works, that it's easy to assume he had solid preexisting models into which he needed only to pour his own inspiration. Listeners who have investigated the music of Torelli, Albinoni, and Corelli a bit know that it's not so simple. And now this disc makes manifest the full complexity of the concerto's early development. The project is the brainchild of British director and violinist Adrian Chandler and Vivaldi forms the tail end of the story told here. What was necessary to make the...
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Editorial Reviews

All Music Guide - James Manheim
The Vivaldian violin concerto seems such a classically simple thing with its chunky tutti sharply differentiated from spectacular solos. And Vivaldi wrote so fluently, wrote so many hundreds of works, that it's easy to assume he had solid preexisting models into which he needed only to pour his own inspiration. Listeners who have investigated the music of Torelli, Albinoni, and Corelli a bit know that it's not so simple. And now this disc makes manifest the full complexity of the concerto's early development. The project is the brainchild of British director and violinist Adrian Chandler and Vivaldi forms the tail end of the story told here. What was necessary to make the Baroque violin concerto, Chandler asks? The list turns out to be rather long. It includes 1 the formation of a genuine string orchestra, 2 the expressive instrumental counterpoint of the Corellian trio sonata, 3 the emergence of the solo/tutti contrast, 4 the classic three-movement concerto structure, and 5 the virtuoso element, among other smaller details. The pieces on the disc, whose composers include the well-known Vivaldi, Albinoni, the moderately well-known Legrenzi, and the unknown Francesco Navara, Giuseppe Valentini, and the "Composer X" who wrote the solo cantata "Laudate pueri Dominum" studied by the young Vivaldi. The inclusion of a vocal work makes perfect sense, for one obvious model for instrumental solos was operatic vocalism, and the performance of this work by soprano Mhairi Lawson is worth the purchase price by itself with its dramatic contrast between Lawson's explosive voice and the tense, dry tones of Chandler's ensemble La Serenissima. The other works show how composers refined and simplified the variety of stylistic choices available to them at the end of the genuinely Baroque seventeenth century, even as they grew a basic five-part ensemble into something slightly larger and more variegated. The entire disc is worth hearing for those in search of anything from an enjoyable program of Baroque string music to a good starting point for a graduate-level seminar in Italian Baroque music.
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Product Details

  • Release Date: 10/10/2006
  • Label: Avie
  • UPC: 822252210620
  • Catalog Number: 2106
  • Sales rank: 105,103

Tracks

Disc 1
  1. 1–4 Sinfonia / Sonata à 5 in C - Francesco Navara & Antonio Domenico Gabbiani (5:40)
  2. 5–14 Laudate pueri Dominum, à voce sola et 5 strumenti, RV Anh. 30 - Composer X & Antonio Domenico Gabbiani (19:22)
  3. 6 Balletti e correnti a 5, Op. 16: Balletto II in g. Presto - Giovanni Legrenzi & Antonio Domenico Gabbiani (0:42)
  4. 7 Balletti e correnti a 5, Op. 16: Corrente II in G. [Giga] - Giovanni Legrenzi & Antonio Domenico Gabbiani (1:23)
  5. 8 Balletti e correnti a 5, Op. 16: Balletto IV in e. [Allemanda] - Giovanni Legrenzi & Antonio Domenico Gabbiani (1:52)
  6. 9 Balletti e correnti a 5, Op. 16: Corrente IV in e - Giovanni Legrenzi & Antonio Domenico Gabbiani (1:06)
  7. 10 Balletti e correnti a 5, Op. 16: Balletto VI in F - Giovanni Legrenzi & Antonio Domenico Gabbiani (1:57)
  8. 11 Balletti e correnti a 5, Op. 16: Corrente VI in F. [Rondo alla Forlano] - Giovanni Legrenzi & Antonio Domenico Gabbiani (0:39)
  9. 21–24 Sinfonia / Sonata à 5 in A minor - Francesco Navara & Antonio Domenico Gabbiani (5:48)
  10. 25–27 Concerto, for 2 violins, 2 violas, cello & continuo No. 4 in G major, Op. 2/8 (T. 2/8) - Tomaso Albinoni & Antonio Domenico Gabbiani (5:29)
  11. 28–33 Concerto No. 11 for 4 violins in A minor, Op. 7/11 - Giuseppe Valentini & Antonio Domenico Gabbiani (17:37)
  12. 34–36 Violin Concerto, for violin, strings & continuo in G major ("L'estro armonico" No. 3), Op. 3/3, RV 310 - Antonio Vivaldi & Antonio Domenico Gabbiani (6:51)
  13. 37–39 Concerto for 4 violins, cello, strings & continuo in B minor ("L'estro armonico" No. 10) Op. 3/10, RV 580 - Antonio Vivaldi & Antonio Domenico Gabbiani (9:05)
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Album Credits

Performance Credits
La Serenissima Primary Artist
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A collection of late Baroque music that's as enjoyable as it is edifying.

    Don't be put off by the scholarly title - "The Rise of the Italian Violin Concerto" is as enjoyable as it is edifying. Certainly, scholars can use this collection as a guide to works by Italian masters of the late Baroque era. But those new to the period, or even those drawn in by the presence of Vivaldi and Albinoni amidst lesser known composers, may be surprised to find how accessible and listenable these works are. Those expecting a set of strictly instrumental material should be forewarned: 10 tracks (spanning 19 minutes) are devoted to "Composer X's" "Laudate pueri Dominum" for voice and 5 instruments – beautifully delivered by ensemble La Serenissima with soprano Mhairi Lawson, but seemingly out of place among the string concertos that constitute the rest of the CD. (Opera lovers could view the suite as a bonus, while others could skip it and still have nearly an hour of instrumental music to enjoy). The performances are first-class throughout. "The Rise of the Italian Violin Concerto" should enhance anyone's collection of classical or Baroque music.

    1 out of 1 people found this review helpful.

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