24 FLAC Discount Recorder player Bolette Roed and Arte dei Suonatori present Vivaldi's famous violin concertos, 'The Four Seasons', combined with other concertos that share a kinship with them, resulting in Vivaldi's Seasons; a programme consisting of sixteen concertos, four for each season, including favourites such as Il rosignuolo and l’Amoroso. Vivaldi published his Op 9 concertos, La cetra ('The Lyre'), in 1727. Soon after, he presented Charles VI, the Habsburg emperor, with a manuscript set of concertos, also called La cetra. Hi-Res FLAC (lossless, 96 kHz, 24 bit) $17.50. This release includes a digital booklet Add download to basket. View full details; Listen to samples.
Antonio Vivaldi – La Cetra, Op. 9 – Rachel Podger, Holland Baroque Society (2012)
DSF Stereo DSD64/2.82MHz | Time – 01:57:26 minutes | 4,64 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: September 2011, January 2012, Waalse Kerk, Amsterdam
In September 1728, Vivaldi met the Habsburg Emperor Charles VI in or near Trieste, where the emperor was supervising the construction of a new harbour. Charles was a great admirer of Vivaldi, and he gave him the title of knight and a golden chain with a medallion, and invited him to visit Vienna. In turn, Vivaldi gave the emperor a manuscript with a collection of concertos entitled ‘La Cetra’ (the cittern or lyre). It was probably no coincidence that the composer had used the same title for the Twelve Violin Concertos Opus 9 ‘La Cetra’ featured on this CD, which he published a year earlier through Le Cène in Amsterdam, with a dedication to the Emperor. According to the Vivaldi scholar Michael Talbot, the lyre symbolised the great love of music of the Habsburgers. Earlier, in 1673, Giovanni Legrenzi had already dedicated an early anthology – likewise entitled La Cetra – to the-then Emperor Leopold I. Talbot also considers the use of scordatura (adjusted tuning of the strings) in the violin part of the 6th and 12th concertos of Opus 9 to be a homage to the Habsburg Emperor. The scordatura practice was indeed a popular tradition in Austria and Bohemia, as we know from the violin music of Biber and Schmelzer. Concerning the remarkable encounter between Emperor Charles and Vivaldi at Trieste in 1728, the Abbé Conti wrote: ‘The Emperor talked about music at length with Vivaldi. It is said that he told him more in two weeks than his ministers in two years.’
A search for the best recording of a given set of Vivaldi violin concertos gets easier with every new release from Rachel Podger. Her last effort for Channel Classics, a scintillating recording of the 12 concertos of La Stravaganza (Op. 4) simply blew away the existing competition (click here for review), and this one promises to do the same. Not that there are that many complete traversals of all 12 of these concertos, but after these commanding performances, recorded with Channel Classics’ signature attention to realistic sound reproduction, future applicants need not apply.
Podger is a dynamic and unfailingly accurate virtuoso with exceptional interpretive instincts that can turn an unimposing rhythmic accent, a tiny melodic figure, or a seemingly routine harmonic progression into a moment of surprise or sheer wonder not only at the technical facility but also at the unexpected expressive effect. These concertos are full of challenges for the soloist, and Podger, who has considerable experience not only with Vivaldi, but with Mozart, Bach, and Haydn, has no apparent fear of any of them. And she also is a confident leader, bringing her very capable orchestral colleagues perfectly along with her, not only concerning tempos, but more importantly into her personal conception of dynamics, her volatile phrasing and often relentless rhythmic thrust. This is what makes these performances so exciting, invigorating, and so memorably different from the Vivaldi we’ve previously known and loved from performers such as Fabio Biondi, Giuliano Carmignola, and Andrew Manze.
There’s nothing not to like in terms of the music, and there are interesting little tidbits of trivia, such as the C minor theme of the Largo in Concerto No. 1, which bears an all-too-striking resemblance to the theme of Bach’s G minor fugue in Book 1 of the WTC. For some reason the first movement of the D minor concerto (No. 8) is foisted on many third or fourth-year violin students, perpetuating the idea that Vivaldi is “easier Bach”. Well, it isn’t. And just listen to Podger’s no-holds-barred performance and you’ll want to slap a warning label on the work: “For Adults Only”.
The Holland Baroque Society is a superb ensemble—it reminds me of the Quebec-based Les Violons du Roy—a group of young and very talented musicians whose inherent youthful energy and technical virtuosity, not to mention serious dedication to their music, reassures us older types that the future of classical music is secure. Full disclosure: I happened to be in Amsterdam during these recording sessions, and sat in for an all-too-brief period. I can say without qualification that the sound you hear is absolutely faithful to the superb acoustics of Amsterdam’s Waalse Kerk and to the vibrant timbres of the Holland Baroque Society’s period instruments. (A wonderful thing about these performances is the way the instruments themselves and their unique colors are celebrated and exploited—not just the bowed strings, but also the lute, organ, and harpsichord.) When listening to this CD I turned the volume up just slightly past my normal listening level, and I was rewarded with a room-filling reproduction of what I’d heard in Amsterdam. “Uitstekend!” Highly recommended. –David Vernier, ClassicsToday
Tracklist:
Antonio Vivaldi (1678-1741)
La Cetra, 12 Violin Concertos, Opus 9
Concerto No. 1 In C Major RV 181a
1 Allegro 3:40
2 Largo 3:25
3 Allegro 2:30
Concerto No. 2 In A Major RV 345
4 Allegro 3:58
5 Largo 2:04
6 Allegro 2:55
Concerto No. 3 In G Minor RV 334
7 Allegro Non Molto 3:46
8 Largo 3:20
9 Allegro Non Molto 3:11
Concerto No. 4 In E Major RV 263a
10 Allegro Non Molto 4:25
11 Largo 2:42
12 Allegro Non Molto 3:27
Concerto No. 5 In A Minor RV 358
13 Adagio – Presto 2:43
14 Largo 2:18
15 Allegro 3:04
Concerto No. 6 In A Major RV 348
16 Allegro 3:49
17 Largo 3:06
18 Allegro Non Molto 4:25
Concerto No. 7 In B-Flat Major RV 359
19 Allegro 2:54
20 Largo 2:11
21 Allegro 2:48
Concerto No. 8 In D Minor RV 238
22 Allegro 3:48
23 Largo 2:46
24 Allegro 2:35
Concerto No. 9 In B-Flat Major RV 530
25 Allegro 3:21
26 Largo E Spiccato 3:02
27 Allegro 2:36
Concerto No. 10 In G Major RV 300
28 Allegro Molto 3:30
29 Largo Cantabile 2:24
30 Allegro 2:56
Concerto No. 11 In C Minor RV 198a
31 Allegro 4:13
32 Adagio 2:12
33 Allegro 3:03
Concerto No. 12 In B Minor RV 391
34 Allegro Non Molto 4:53
35 Largo 2:17
36 Allegro 3:58
Personnel:
Rachel Podger, violin
Holland Baroque Society
DSF DSD64
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SACD ISO
FLAC 24-96
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Vivaldi Flacco
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Vivaldi Flaca
Avi Avital – Vivaldi (2015) FLAC (tracks) 24 bit/96kHz | Time – 51:24 minutes | 972 MB | Genre: Classical Official Digital Download – Source: HDTracks | © Deutsche Grammophon Recorded: Treviso, Teatro delle Voci, 9–10/2014; Berlin, Meistersaal, 12/2014 (Trio Sonata)Grammy-nominated classical mandolinist Avi Avital is an artist who relentlessly pushes at boundaries and defies expectations. From Bach to tangos, from Balkan improvisations to Dvořák string quartets, his concert programmes fearlessly and seamlessly transcend musical genres, while his disco graphy demonstrates a masterful versatility. With his current recording project, however, he brings the mandolin “home”, to the music of Antonio Vivaldi, the beloved Venetian composer whose Mandolin Concerto forms the cornerstone – “the Old Testament”, says Avital – of the instrument’s repertoire.Yet a virtuoso interpretation of the four Vivaldi concertos here recorded – that for mandolin and its sibling for lute, together with two familiar violin concertos in Avital’s own transcriptions – is not enough. For Avital, as both soloist and musical director, recording a Vivaldi album is not an act of passive veneration, but an open-ended invitation to explore the man’s music and his world. On this journey of discovery there are no taboos: much as in Venice itself, the lines between historical practice and contemporary spirit are blurred, the exalted and the profane sit side by side. Avital is dogmatic only in the spirit of tireless experimentation – daring, risking and teasing startling new sounds out of these familiar pieces. As the recording sessions unfold, it becomes clear that not only historically-informed performance practice, but also the spirit of rock music is at heart of Avital’s interpretative approach. The music-making is bold, personal and immediate. Avital often uses a dif- ferent plectrum or pick for each section of music. His sense of dynamic contrast pushes the limits of the recording engineers’ technical capacities. Tempos are not defined in strict intervals, but remain as dynamic as volume, subject to the ebb and flow of the melodic architecture. Intonation is precise, but tones are occasionally “bent”, as a jazz musician might, to add exotic spice to moments of emotional extreme. The accompanying lute, cello and harpsichord are given freedom to temperamentally punctuate the music’s structure.What was surprising was how effective “Summer,” from “The Four Seasons,” sounded on Avital’s mandolin . . . The restless heat of the Adagio was perhaps even better expressed by the mandolin, especially with the orchestra’s very delicate accompaniment . . . Avital’s mandolin gave Vivaldi’s Concerto for Lute in D a shimmer of Venetian water you don’t hear in the original; the Largo was quick and bittersweet . . . [Vivaldi / Mandolin Concerto]: Avital made the Largo swing and sway . . . Avital showed off his own fleet fingers on his solo encore, the Bulgarian folk dance “Bucimis.” The evening closed sweetly with the Largo from Vivaldi’s Flautino Concerto in C, Avital taking the solo part on the mandolin and everyone making it sound as if Venice were in the next room. –Jeffrey Gantz, Boston GlobeAccompanied by the talented and prolific Venice Baroque Orchestra, the album offers an enjoyable fifty-odd minutes of virtuoso mandolin playing . . . Avital is unquestionably a fine mandolin player, his tone sweet and fluid, his tempos well judged, neither too breakneck fast nor too maddeningly slack, and his natural affinity for the instrument always in evidence in his intonation and flexibility. I mean, the thing about Avital is that he makes Vivaldi fun again. After so many Vivaldi recordings that all sound alike, it’s refreshing to hear Avital’s mandolin take on things. His transcriptions are a breath of fresh air, even giving new life to that old chestnut “Summer.” Favorites? I must confess to liking all of them. But I especially enjoyed the dreamy “Largos” in RV 356 and RV 318; the zesty opening “Allegro” in RV 318; the entire RV 425, . . . the lovely, delicate “Trio Sonata”; the sweet yet lusty and fanciful spirit Avital brings to the “Summer” concerto (here, you can practically feel the heat rising from the Venetian pavement in the “Adagio”); and the longing melancholy in the final song, sung by Juan Diego Florez to Avital’s accompaniment. But, as I say, they all sound fresh and beautiful . . . The engineers have captured the sound of the mandolin pretty well, the instrument very clean, very clear, with excellent transient response, and they have integrated the soloist well within the context of the orchestra. –John J. Puccio, Classical Candor. . . [this] disc has a great deal of charm, much of which lies in mandolinist Avi Avital’s arrangements. In addition to skilfully transcribing each work, . . . he has in most cases also reduced or altered the orchestration, and the wonderful Venice Baroque Orchestra plays with warmth, love, and no particular desire to scratch and scrape its way through the allegros . . . His reading of the A minor violin concerto from “L’estro armonico” that opens the CD is attacked energetically, and the slow movement — a beauty — is lyrical and sweet. The presto is fun, with the lower strings an appealing foil for the mandolin. –Robert Levine, ClassicsTodayTracklist: Antonio Lucio Vivaldi (1678-1741) Concerto In A Minor, RV 356 1. 1. Allegro 02:46 2. 2. Largo 02:00 3. 3. Presto 02:21 Concerto in D major RV 93 4. 1. Allegro 03:16 5. 2. Largo 04:00 6. 3. Allegro 02:03 Mandolin Concerto in C major RV 425 7. 1. Allegro 02:45 8. 2. Largo 03:06 9. 3. Allegro 01:47 Concerto In C Major, RV 443 10. Largo 03:33 Trio Sonata in C major RV 82* 11. 1. Allegro non molto (quasi andante) 03:25 12. 2. Larghetto 03:29 13. 3. Allegro 02:05 The Four Seasons – Concerto In G Minor, RV 315, “The Summer” 14. 1. Allegro non molto 05:14 15. 2. Adagio e piano – Presto e forte 02:03 16. 3. Presto 02:53 Traditional Venetian 17. La biondina in gondoleta** 04:38Personnel: Avi Avital, Mandolin Venice Baroque Orchestra Mahan Esfahani, Harpsichord* Ophira Zakai, Lute* Patrick Sepec, Cello* Juan Diego Flórez, Tenor** Ivano Zanenghi, Lute** Daniele Bovo, Cello** Lorenzo Feder, Harpsichord** Fabio Tricomi, Guitar**Download:https://nitroflare.com/view/E18DAE8F177B5AF/flac.st_AviAvitalVivaldi20159624.rar