Vivaldi's Cello

Editorial Reviews

Barnes & Noble - Seth Kaufman
Several years back, Yo-Yo Ma rigged his Stradivarius cello with 18th-century fittings, adapted his bowing to Baroque style, and released a pair of bestselling discs -- Simply Baroque and Simply Baroque II -- that offered gallantly charming concertos by Luigi Boccherini and stylish, songful arrangements of Bach. But, like Ma's recent Silk Road project, that experiment in historical performance practice was no short-lived affair, and here he serves up another bouquet of Baroque splendors, this time from Antonio Vivaldi. Teaming up yet again with Ton Koopman and the crackerjack musicians of the Amsterdam Baroque Orchestra, Ma demonstrates that there's more to the music of ...
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Editorial Reviews

Barnes & Noble - Seth Kaufman
Several years back, Yo-Yo Ma rigged his Stradivarius cello with 18th-century fittings, adapted his bowing to Baroque style, and released a pair of bestselling discs -- Simply Baroque and Simply Baroque II -- that offered gallantly charming concertos by Luigi Boccherini and stylish, songful arrangements of Bach. But, like Ma's recent Silk Road project, that experiment in historical performance practice was no short-lived affair, and here he serves up another bouquet of Baroque splendors, this time from Antonio Vivaldi. Teaming up yet again with Ton Koopman and the crackerjack musicians of the Amsterdam Baroque Orchestra, Ma demonstrates that there's more to the music of this Venetian master than The Four Seasons though he does play an arrangement of the Largo from the "Winter" Concerto. There's a darkly dramatic Concerto for Two Cellos in G minor, for example, an equally dark but more subdued Concerto in D Minor for Lute and Viola D'amore played here on the cello, and a pair of solo concertos -- a joyous one in B-flat Major and a somber companion in C Minor. As on the Simply Baroque albums, Ma fills up the disc with arrangements by Koopman taken from Vivaldi's operas and oratorios. Igor Stravinsky once accused Vivaldi of having written the same concerto 500 times. For those who still subscribe to such a notion, Ma and Koopman have produced a compelling and often astonishingly beautiful riposte. Let's hope there's more to come.
Gramophone - Lindsay Kemp
Superb though Ma is on his "baroqued" 1712 Stradivarius, each of the musicians...is on top form as well.... An uncomplicated joy all around, then, for its music, its performances and its recording, too.
Classic FM Magazine - Rick Jones
The result is excellent.... Ma’s bowed line is real singing.

The result is excellent.... Ma’s bowed line is real singing.
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Product Details

  • Release Date: 3/30/2004
  • Label: Sony
  • UPC: 827969091623
  • Catalog Number: 90916

Tracks

Disc 1
  1. 1 I. Allegro - Amsterdam Baroque Orchestra (3:22)
  2. 2 II. Largo - Amsterdam Baroque Orchestra (2:31)
  3. 3 III. Allegro - Amsterdam Baroque Orchestra (3:11)
  4. 4 II. Largo - Amsterdam Baroque Orchestra (1:50)
  5. 5 I. Allegro - Amsterdam Baroque Orchestra (3:29)
  6. 6 II. Largo - Amsterdam Baroque Orchestra (2:19)
  7. 7 III. Allegro - Amsterdam Baroque Orchestra (3:36)
  8. 8 Così sugl' occhi miei - Amsterdam Baroque Orchestra (2:56)
  9. 9 I. Allegro - Amsterdam Baroque Orchestra (5:20)
  10. 10 II. Largo - Amsterdam Baroque Orchestra (2:29)
  11. 11 III. Allegro - Amsterdam Baroque Orchestra (3:10)
  12. 12 La gloria del mio sangue - Amsterdam Baroque Orchestra (2:54)
  13. 13 I. Allegro non molto - Amsterdam Baroque Orchestra (4:15)
  14. 14 II. Adagio - Amsterdam Baroque Orchestra (2:58)
  15. 15 III. Allegro ma non molto - Amsterdam Baroque Orchestra (3:00)
  16. 16 Noli, ò cara, te adorantis - Amsterdam Baroque Orchestra (5:02)
  17. 17 Laudamus te - Amsterdam Baroque Orchestra (2:28)
  18. 18 Quanto magis generosa - Amsterdam Baroque Orchestra (10:18)
  19. 19 Dite oihmè - Amsterdam Baroque Orchestra (2:26)
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Album Credits

Performance Credits
Yo-Yo Ma Primary Artist, Baroque Cello
Amsterdam Baroque Orchestra Performing Ensemble
Ton Koopman Organ, Conductor, Harpsichord
Wouter Verschuren Bassoon
Alfredo Bernardini Baroque Oboe
Mike Fentross Lute
Margaret Faultless Baroque Violin
Michel Henry Baroque Oboe
Katherine McGillivray Viola d'amore
Jonathan Manson Baroque Cello
Ton Koopman Conductor
Amsterdam Baroque Orchestra Ensemble
Technical Credits
Antonio Vivaldi Composer
Roxanne Slimak Art Direction
Adriaan Verstijnen Engineer
Laura Kszan Packaging Manager
David Mermelstein Liner Notes
Tini Mathot Producer
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Customer Reviews

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Sort by: Showing all of 5 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Not the best, but Yo-Yo Ma on a roll!

    Yo-Yo Ma's Vivaldi Cello C.D. is not his best, I have to admit, but his performances with Koppman have always been astonishing. I have Classical Yo-Yo, and I've heard all the songs on his C.D. The Double Concerto was almost horrible, but still it didn't sound that 'horrible'. Congrats, Yo-Yo on creating a new C.D. This C.D. is not only good for enjoying, but relaxing.

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  • Anonymous

    Posted October 1, 2010

    Don't overpower the soloists

    The only thing I didn't like about this CD was the Double Cello Concerto. I've heard other arrangements which sounded much better. The harpsichord and other sections of the symphony overwhelm the soloists which means the true passion and fire of the piece cannot be adequately heard.

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  • Anonymous

    Posted October 1, 2010

    Not enthusiastic about Ma's period instrument venture

    I revere Yo Yo Ma both as a musician and as an artist who has always warmed to nonprofessional musical audiences. This contrasts with those soloists who, paraphrasing conductor Michael Tilson Thomas, cultivate the apex of the pyramid rather than the base. When it comes to Ma's "authentic instrument" undertaking, however, I differ from the publisher and some of the private reviewers. First, on the positive side, I actually welcomed the strong miking of the background complement (e.g. harpsichord, basso continuo). The solo instrument in baroque recordings often dominates so much that one can't hear the nuances, counterpoint, and other important musical elements in compositions of this period. This is especially true for recordings of G.P. Telemann, in whose works the ingenious part-writing and color that Telemann prided himself in building into supporting chamber and orchestral parts often gets lost. But the worst thing, in my opinion, is swapping Ma's gorgeous cello tone for a no-or-minimal vibrato style, chopped to comport with authentic performance manner perceived by Ton Koopman as appropriate for early 18th Century works. To be honest, I don't think I could really distinguish Ma's Strad in this recording from a decent $1500 student cello. Sorry, if I offend partisans of Ma or Koopman. But that's what the innovation of Internet bookseller reviews allows: it gives everyone access not just to official, or widely endorsed views, but also alternative views of aficionados for whom music means a great deal.

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  • Anonymous

    Posted October 25, 2008

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  • Anonymous

    Posted July 11, 2009

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